კულტურა პლუს 1 (15) by კულტურა Plus

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1 (15) 2019 s a g a n m a n a T l e b l o - s a z o g a d o e b r i v i

J u r n a l i

sarCevi / CONTENTS akrZaluli Targmanis dabruneba

RETURN OF A BANNED TRANSLATION

`mdgomareobebidan~ gamosavali

A WAY OUT OF “CONDITIONS”

muzeumebs, romelTac ar vicnobT...

MUSEUMS THAT ARE UNKNOWN TO US...

ferweridan arboriskulpturamde

FROM PAINTING TO ARBORISCULPTURE

va, sofelo...

ALAS, O WORLD...

zRapris Tavgadasavali

THE ADVENTURE OF A FAIRY TALE

Tvali

WHEEL

`profesionali~ msmeneli

"PROFESSIONAL" AUDIENCE

poeti da gavlenebi

A POET AND INFLUENCES

mTavari redaqtori EDITOR-IN-CHIEF revaz iukuriZe REVAZ IUKURIDZE saredaqcio jgufi EDITORIAL STAFF Salva cxovrebaZe SHALVA TSKHOVREBADZE levan SatberaSvili LEVAN SHATBERASHVILI ramaz Wilaia RAMAZ CHILAIA xaTuna kereseliZe KHATUNA KERESELIDZE aleqsandre ServaSiZe ALEKSANDRE SHERVASHIDZE dizaineri DESIGNER nikoloz bagrationi NIKOLOZ BAGRATIONI

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gamodis kvartalSi erTxel JurnalSi ganTavsebuli masalis gamoyeneba SeiZleba mxolod redaqciis TanxmobiT

Issued quarterly The materials published in this magazine cannot be used without the authorization of the editorial staff

ISSN 2346-8165 beWdva: Sps „kontrol p“ / Print: Control p

ydaze: kako Tofuria, `wiTlebi da TeTrebi~ (detali), gobeleni, Sali, 197 X 283 sm. 2004 w. ukana ydaze: Citebi, sinTezuri rezini, akrili, 50 X 25 X 12 sm. Cover: Kako Topouria, 'Reds and Whites' (detail), Gobelin, wool, 197 x 283 cm, 2004. Back cover: Birds, synthetic rubber, acrylic, 50 x 25 x 12 cm.

1 (15) 2019

akrZaluli Targmanis dabruneba

mixako wereTeli karl becoldis saflavTan MIKHAKO TSERETHELI AT CARL BEZOLD'S GRAVE

RETURN OF A BANNED TRANSLATION `gilgameSiani _ babilonuri eposi mesame aTaseulisa qr.w. babilonur teqstiTgan Targmnili mixako wereTlis mier, mTargmnelis SeniSnvebiTurT. gamocema konstantinopolis q.-k. (qarTvel kaTolikeTa) savanisa. konstantinepoli, sabeWdavi qarTvelTa kaTolike savanisa, 1924~ _ aseTi TavfurceliT gamoica 1924 wels kacobriobis pirveli eposis, babilonuri `gilgameSianis~ pirveli qarTuli Targmani.

“Gilgamešiani – Translation of the Babylonian epic from the third millennium BC from the Babylonian text by M. Tseretheli. Published in Constantinople at the Monastery of G.C. (Georgian Catholics). Constantinople, Monastery of Georgian Catholics, 1924.” – This was written on the cover with which the first Georgian translation of the Babylonian ‘Epic of Gilgameš’, the first epic in history, was published.

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qarTuli universitetis daarsebisas ivane javaxiSvilma, mixako wereTeli damfuZnebelTa Soris daasaxela da haidelbergis universitetis doqtors, 1920 wels `asiriologiisa da Zveli aRmosavleTis istoriis~ kaTedris daarseba, xelmZRvaneloba SesTavaza. mixako wereTelma quTaisis klasikuri gimnaziis damTavrebis Semdeg, ganaTleba jer kievis, mogvianebiT ki sorbonis, Jenevisa, da bolos, daviT sarajiSvilis xelSewyobiT, haidelbergis universitetebSi miiRo. ivane javaxiSvilisa da eqvTime TayaiSvilisadmi miweril baraTebSi igi xSirad werda Tu ra urTules saqmes SesWideboda _ im droisTvis axlad aRmoCenili, Seuswavleli lursmuli damwerlobebis SeswavlagaSifvris gamo. swored asurul da urartul lursmul teqstebSi iwyeboda qarTveluri tomebis uZvelesi istoria da pirvel qarTul universitetSi asiriologiis, rogorc damoukidebeli dargis arseboba, Cvens universitets samecniero avtoritets sZenda _ maSin da dResac, mecnierebis am mimarTulebas, msoflios mxolod ramdenime elitaruli universiteti ikvlevda.

XI dafis warRvnis epizodis lurmsuli teqsti CUNEIFORM TEXT OF THE FLOOD EPISODE, 11TH TABLET

gilgameSianis pirveli gamocema, 1924 weli FIRST EDITION OF GILGAMEŠIANI, 1924

When he established the first Georgian university, Ivane Javakhishvili named Mikhako Tseretheli, who had received his education in Europe, as one of its founders, and offered him to create and supervise the Faculty of Assyriology and History of Ancient Orient in 1920. After graduating from the Kutaisi Gymnasium, Mikhako Tseretheli studied at the University of Kyiv, then at the Sorbonne, the University of Geneva, and finally, thanks to the support of Davit Sarajishvili, at the Heidelberg University. In the letters he used to send to Ivane Javakhishvili and Ekvtime Takaishvili, he would often mention how difficult a task – the study and decipherment of newly discovered cuneiform writings – he was carrying out . It is precisely in Assyrian and Urartian cuneiform texts that the beginnings of the Ancient History of Kartvelian (Georgian) tribes could be found, and the existence of an independent faculty of Assyriology in the first Georgian university was providing the latter with scientific authoritativeness – just like today, only a handful of the world’s elite universities were studying this field. The love for his homeland, as well as his sense of responsibility and diligence, allowed Mikhako Tseretheli, now a national hero of Georgia, to fulfill this arduous undertaking. After working for several

1 (15) 2019

years with world-renowned German Assyriologist Carl Bezold, he became a Doctor of Philosophy at the Heidelberg University. Bezold and Tseretheli’s correspondence is preserved at the Heidelberg University, as is his doctoral thesis “Names, characteristics and actions of Sumerian, Babylonian and Assyrian gods”. At that time, European scholars were trying to decipher and read samples of cuneiform writings discovered in 1872 during archaeological digs in Nineveh, and to translate them into modern languages. In 1888, a cuneiform facsimile of the text was published by Paul Haupt. Mikhako Tseretheli found himself at the center of these momentous scientific endeavors. In all likelihood, he started working on and translating the cuneiform tablets of ‘The Epic of Gilgameš’ in the years 1915-1919, at the British Museum. During the same period, he was helping the Wardrops in the English translation of ‘The Knight in the Panther’s Skin’. He noticed recurring motives in ‘The Knight in the Panther’s Skin’ and ‘The Epic of Gilgameš’, and considered the Georgian poem to be a “heir” of the ancient Babylonian epic. These views were presented in the appendix of his Georgian translation of ‘The Epic of Gilgameš’. It is worth noting that the German translation of ‘The Knight in the Panther’s Skin’ also belongs to Mikhako

mixako wereTlis imatrikulaciis mowmoba, haidelbergis universiteti MIKHAKO TSERETHELI'S IMMATRICULATION DOCUMENT, HEIDELBERG UNIVERSITY

mixako wereTlis, aw ukve saqarTvelos erovnul gmirs, samSoblos siyvarulma, pasuxismgeblobaSromismoyvareobam SeaZlebina am urTulesi, saSuri saqmis daZleva. msoflioSi cnobil germanel asiriologTan, karl becoldTan ramdenimewliani muSaobis Semdeg, igi haidelbergis universitetis doqtori gaxda. becoldisa da wereTlis mimowera haidelbergis universitetSia daculi da iqve inaxeba misi sadoqtoro naSromi, "Die Namen, Eigenschaften und Handlungen der Sumerisch-Babylonisch-Assyrischen Goetter" _ `Sumeruli, babilonuri da asuruli RvTaebebis saxelebi, Taviseburebebi da qmedebebi~. imatrikulaciis mowmobiTurT. im dros, evropeli mecnierebi, 1872 wels, nineviis arqeologiuri gaTxrebisas aRmoCenili lursmuli damwerlobis nimuSebis gaSifvra-wakiTxvas da Tanamedrove enebze Targmnas SesWidebodnen. 1888 wels ki, paul hauptis redaqciiT, teqstis lursmuli avtografiac gamoqveynda. mixako wereTeli swored am didi samecniero movlenebis epicentrSi aRmoCnda. savaraudod, 19151919 wlebSi man `gilgameSianis~ lursmuli firfitebis damuSaveba-Targmna daiwyo. am periodSive igi londonSi,

mixako wereTlis imatrikulaciis mowmoba, haidelbergis universiteti MIKHAKO TSERETHELI'S IMMATRICULATION DOCUMENT, HEIDELBERG UNIVERSITY

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uordropebs `vefxistyaosnis~ inglisurenovan TargmnaSi exmareboda. `vefxistyaosansa~ da `gilgameSianSi~ saerTo motivebs xedavda, qarTul poemas Zvelbabilonuri eposis `memkvidred~ miiCnevda. es mosazrebebi `gilgameSianis~ danarTSia warmodgenili. aqve aRvniSnavT, rom mixako wereTels ekuTvnis `vefxistyaosnis~ germanuli Targmanic, romelzec igi mTeli cxovreba muSaobda.1 `gilgameSianis~ Targmnisas, rogorc is Tavad aRniSnavs, hauptis mier gamoqveynebul lursmul teqsts misdevda. Targmanis mTavari Rirebuleba, is aris, rom dednidan sruldeboda da teqsts fundamenturi samecniero kvlevac erTvoda. mixako wereTels ekuTvnis eposis daTariRebis swori versiac, literaturuli konteqsti, kvlevebi teqstis struqturisa da avtoris Sesaxeb. mecnieris Sexedulebebi, romlebic im droisTvis mxolod hipoTezad rCeboda, sadReisod gamarTlebulia da saerTaSoriso samecniero mimoqcevaSia. dabrunebul mixako wereTels samSobloSi didxans aRar umoRvawia. 1921 wlis aneqsiisTanave, man samudamod datova saqarTvelo da damoukidebel, pirveli respublikis mTavrobas emigraciaSi gahyva. savaraudod, evropisken mimavalma, `gilgameSianis~ xelnaweri konstantinepolis qarTvel kaTolikeTa savaneSi datova, sadac 3 wlis Semdeg, 1924 wels gamoica kidec. bolSevikebma sabWoeTSi mixako wereTlis saxelis xsenebac ki akrZales. mxolod mkvlevarTa viwro wres SeeZlo misi naSromebis xseneba, isic umkacresi kritikis konteqstiT. `gilgameSianmac~ mTargmnelis bedi gaiziara _ Targmani gamocemis dRidanve aikrZala da xelmiuwvdomeli gaxda qarTveli mkiTxvelisTvis... Tumca, miuxedavad amisa, wereTeli msoflio mecnierebam eposis mTargmnel-pionerad aRiara. germanul, frangul da inglisur enebs Soris, romlebzec Zvelbabilonuri eposi pirvelad iTargmna, mixako wereTeliseuli `qarTuli gilgameSianicaa~. mixako wereTelma eposis pirvel mTargmnelgamSifvrelTa Soris daimkvidra adgili!

mixako wereTli megobrebTan erTad / MIKHAKO TSERETHELI WITH FRIENDS

Tseretheli, who had worked on it throughout his whole life.1 When translating the ‘Epic of Gilgameš’, as he mentions himself, he was following the cuneiform text published by Haupt. The main value of the translation lied in the fact that it was done from the original, and that the text was accompanied by a fundamental scientific study. The correct dating of the epic, its literary context, and research about the text’s structure and author all belong to Mikhako Tseretheli. The scholar’s views, which were only considered as theories during his time, are now validated and of international scientific value. After returning, Mikhako Tseretheli wasn’t active for long in his

1 mixako werTelma germanulad Targmna `vefxistyaosani~, mis mierve kritikulad damuSavebuli qarTuli originalidan.

Mikhako Tseretheli translated ‘The Knight in the Panther’s Skin’ in German

mixako wereTlis mier redaqtirebuli da kritikulad

from a critical Georgian original edition he had worked on himself.

damuSavebuli `vefxistyaosani~ pirvelad 1963 wels

Mikhako Tseretheli’s redacted and critical edition of ‘The Knight in the

daibeWda parizSi, 1975 wels ki, nino saliam gamoaqveyna

Panther’s Skin’ was first printed in Paris in 1963. Nino Salia published

`vefxistyaosnis~ wereTliseuli germanuli Targmani, romelic

Tseretheli’s German translation of ‘The Knight in the Panther’s Skin’ in

iseve rogorc `gilgameSiani~ saqarTveloSi akrZaluli iyo.

1975, and just like ‘Gilgamešiani’, it was banned in Georgia. A copy of Nino

nino salias gamocemis erTi egzemplari inaxeba qarTuli

Salia’s publication obtained by Guram Sharadze is kept at the Museum

emigraciis muzeumSi, mopovebulia guram SaraZis mier. 2015

of Georgian Emigration. In 2015, the Tbilisi University Print published

wels Tsu-s gamomcemlobam pirvelad saqarTveloSi gamosca

Mikhako Tseretheli’s German translation of ‘The Knight in the Panther’s

m. wereTlis `vefxistyaosnis~ germanuli Targmani, mis mierve

Skin’ for the first time in Georgia, together with the same author’s

dadgenil qarTul dedanTan erTad. 2018 wels, wigni xelaxla

Georgian original. In 2018, the book was published again to be presented

daibeWda frankfurtis wignis bazrobaze warsadgenad.

at the Frankfurt Book Fair.

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mariam vaxvaxiSvili da mixeil wereTeli MARIAM VAKHVAKHISHVILI AND MIKHEIL TSERETHELI

raoden gulsatkeni unda iyos, Targmani sabWoTa imperiis dangrevis Semdegac `tyveobaSi~ darCa. Tbilisis saxelmwifo universitetSi, 1991 wels, oTar jafariZis erTTviani reqtorobis dros, akademikosma grigol giorgaZem mixako wereTlis mier daarsebuli asiriologiis kaTedra aRadgina… am dros, wereTliseuli `gilgameSianis~ erTaderTi egzemplari guram SaraZis arqivSi iyo daculi, romelic mogvianebiT man, misive daarsebul, qarTuli emigraciis muzeums gadasca. mkvlevarma, akademikos grigol giorgaZes, rogorc mixako wereTlis didi saqmis gamgrZelebels, eposis qseroasli miawoda. 2007 wels ki, `gilgameSianis~ kidev erTi egzemplari gia Tarxan-mouravma stambolis bukinistur maRaziaSi

homeland. Right after the 1921 Russian annexation, he left Georgia for good, accompanying the emigration of the Democratic Republic of Georgia's government. On his way towards Europe, he probably left a manuscript of ‘Gilgamešiani’ at the monastery of Georgian Catholics in Constantinople, where it was published three years later, in 1924. Soviet authorities forbid to even mention the name of Mikhako Tseretheli in the Soviet Union. Only a small circle of scholars could refer to his works, and even if they did, it could only be in an utterly condemning tone. ‘Gilgamešiani’ followed the fate of its translator – the translation was banned from the day of its publication, and thus became inaccessible to Georgian readers… But despite this, Tseretheli was acknowledged by international scholars as a translator and pioneer of the epic. Among German, French and English, the first

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ipova, SeiZina da saCuqrad Tbilisis saxelmwifo universitetis asiriologiis kaTedras gadasca. swored es gadarCenili wigni gaxda mixako wereTlis warmdgeni did britaneTSi… 2010 wels, kembrijSi, sent jonis kolejSi `gilgameSis eposisadmi~ miZRvnili saerTaSoriso konferencia Catarda,2 sadac mixako wereTlis `gilgameSianis~ 1924 wlis erTaderTi gacrecili gamocema xelidan xelSi gadadioda da aRfrTovanebas iwvevda. imave 2010 wels, saerTaSoriso aRiarebis Semdeg, Tsu gamomcemlobam `gilgameSianis~ dabeWdva Tamar ebraliZis TaosnobiT, saqarTveloSic pirvelad gabeda. akademikos Tamaz gamyreliZisa da profesor darejan TvalTvaZis moraluri da finansuri mxardaWeriT wereTliseuli `gilgameSianis~ prezentacia kembrijSi Sedga. Targmani

2 Decoding Gilgamesh, Cambridge, st. John’s college, 2010 (12-14 April).

languages in which the ancient Babylonian epic was translated, there is also Mikhako Tseretheli’s “Georgian Gilgamešiani”. Mikhako Tseretheli established himself as one of the first translators and decipherers of the epic! As heartbreaking as it may sound, the translation remained “in captivity” even after the fall of the Soviet Union. In 1991, while Otar Japaridze was the rector of the Tbilisi State University for a month, academician Gregory Giorgadze reestablished the Department of Assyriology founded by Mikhako Tseretheli… At that time, Mikhako Tseretheli’s ‘Gilagameshiani’s’ only copy was kept at Guram Sharadze’s archive. The latter would donate it to the Museum of Georgian Emigration, which he had founded himself. The scholar provided academician Gregory Giorgadze, because he was continuing Mikhako Tseretheli’s great undertaking, with a duplicate of the epic. In 2007, another copy of ‘Gilgamešiani’ was found by Gia Tarkhan-Mouravi at a bookshop in Istanbul; he bought it and offered it as a present to the Tbilisi State University's Department of Assyriology. This copy would be the one to present Mikhako Tseretheli to Great Britain…

mixako wereTewli meuRlesTan da naTesavebTan / MIKHAKO TSERETHELI WITH WIFE AND RELATIVES

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cilindruli sabeWdavi, gilgameSis gamosaxulebiT, Zv. w. III aTaswleuli CYLINDER SEAL WITH A DEPICTION OF GILGAMEŠ, 3RD MILLENIUM BC

dResac saerTaSoriso samecniero mimoqcevaSia3 _ Tsu-s asiriologiis kaTedra TanamSromlobs britaneTis samecniero wreebTan, romelTanac mudmivi komunikacia aqvs da wereTliseuli Targmanis interpretacias awvdis. sayuradReboa, rom mixako wereTels aseve naTargmni aqvs `gilgameSianis~ xeTuri (indo-germanuli) versiac4. manve Targmna teqstis Sumeruli nawilebic, romelic Tavis droze, eposis aqadelma avtorma Sumerulidan aqadurad Targmna. xeTuri versiis Targmans wereTeli `gilgameSianis~ sqolioebSi imowmebs. Sumeruli Targmani ki eposis winasityvaobas daurTo, rac mixako wereTlis, rogorc mecnieris, unikalur erudiciasa da masStaburobas cxadyofs. Sumeruli `gilgameSiani~ sruli saxiT, samwuxarod, Cvenamde ar moRweula. dReisaTvis mxolod eposis am variantis xuT Tavs vicnobT... XIX saukunis Sua xanebSi, Zveli nineviis teritoriaze Catarebuli arqeologiuri gaTxrebis dros, henri leiardma da jorj smiTma, aRmoaCines `gilgameSianis~ aqaduri, e.w. nineviuri versia, romlis teqstis lursmuli

3 Martin Worthington, Andrew George. “Epic if Gilgamesh”, Tablet XI,

‘Decoding Gilgameš’, Cambridge, St. John’s College, 2010 – 12th-14th April.

Martin Worthington, Andrew George. ‘Epic of Gilgameš’, Tablet XI,

Cambridge, 2019. uaxles gamocemas ixilavT 2019 wels, sadac

Cambridge, 2019. (In print. The latest edition will be available in 2019, and

wereTliseuli wakiTxvebi gaziarebuli da damowmebulia.

will include Tseretheli’s analyses.)

4 aqve SegviZlia aRvniSnoT, rom yvela sxva Tanamedrove

In 2010, an international conference dedicated to the ‘Epic of Gilgameš’ took place at the Saint John’s College in Cambridge,2 where the worn, only 1924 publication of Mikhako Tseretheli’s ‘Gilgamešiani’ was passed from hand to hand between the astonished attendees. That same year, after international recognition, Tbilisi University Print published ‘Gilgamešiani’ in Georgia for the first time, under the direction of Tamar Ebralidze. Thanks to the moral and financial support of academician Tamaz Gamkrelidze and professor Darejan Tvaltvadze, a presentation of Tseretheli’s ‘Gilgamešiani’ took place in Cambridge. To this day, the translation is circulating between international scholars3 – the Department of Assyriology of the Tbilisi State University collaborates with British scientists, with whom they are in constant communication, and provide them with the interpretation of Tseretheli’s translation. It is worth noting that Mikhako Tseretheli has also translated the Hittite (Indo-German, as he referred to it) version of the ‘Epic of Gilgameš’4. Apart from that, he translated Sumerian parts of the text, which were, in ancient times, translated from Sumerian to Akkadian by the epic’s Akkadian author. Tseretheli uses citations of his translation from Hittite in ‘Gilgamešiani’s’ notes. He inserted the Sumerian translation to the epic’s foreword. All this underlines the unique erudition and scale of Mikhako Tseretheli as a scientist. Unfortunately, the Sumerian ‘Epic of Gilgameš’ didn’t reach our times, and today, only five chapters remain from this version of the epic… In the middle of the 19th century, during archaeological excavations carried out on an ancient Nineveh site, Henry Layard and George Smith discovered an Akkadian, so-called “Nieveh” version of the ‘Epic of Gilgameš’, the cuneiform facsimile of which was published in 1891 by German Assyriologist Paul Haupt (Haupt P., Das Babylonische Nimrodepos, Leipzig, 1891). The same year, a German translation of the ‘Epic of Gilgameš’ was published by Alfred Jeremias (Izdubar-Nimrod. Eine altbabylonische Heldensage. Nach den Keilschriftfragmenten dargestellt von Dr. Alfred Jeremias, Leipzig, 1891), and in 1901, an English translation of the epic was printed (The Epic of Gilgameš. Adapted and Modernized from the Translation of William Muss-Arnolt, 2nd Millennium BCE, 1901). A bit later, namely in 1907, a French translation was published (L’Épopée de Gilgamèš, traduit par Éduard Dhorme, Paris, 1907). As for Mikhako Tseretheli’s Georgian version, it is the epic’s fourth translation in history!

One should note that in all other modern translations, ‘Gilgamešiani’ is

TargmanSi `gilgameSiani~ `gilgameSis eposad~ moixsenieba.

referred to as the ‘Epic of Gilgameš’, and that the title chosen by Tseretheli

wereTliseuli saTauri "gilgameSiani" ki zustad gamoxatavs

accurately reproduces the ancient Babylonian idea of ‘Ešgar Gilgameš’,

Zvelbabilonur ideas `eSgar gilgameS~, rac niSnavs _

which means “All about Gilgameš”, or in Georgian, ‘Gilgamešiani’ (“Cycle of

yvelaferi gilgameSis Sesaxeb anu `gilgameSians~.

Gilgameš”).

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XI dafa, warRvnis epizodi / 11TH TABLET, FLOOD EPISODE

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Mikhako Tseretheli states that he follows Haupt’s version of this epic’s cuneiform text “word for word”, which makes the Georgian text closer to the Akkadian original, and thus more scientifically reliable. The poetic narrative of the translator has a kind of archaic feel to it, which produces a sort of chronological association among readers. It is also interesting to note that the Akkadian idioms or other phraseological details, which are quite difficult to understand in our modern times, were translated in Georgian masterfully. Taken together, all this provides such value to Mikhako Tseretheli’s poetic creation, that it makes the Georgian ‘Gilgamešiani’ one of the finest examples of our centuries-long and rich translation culture. Various versions of the epic dedicated to Gilgameš are separated from each other by1500 years. There existed versions in four ancient oriental languages – Sumerian, Akkadian, Hittite and Hurrian, and these versions are inscribed on tablets in cuneiform writing. Mikhako Tseretheli humbly notes that the poem “was probably composed in the third millennium BC. To be more precise, the epic doesn’t mention the god Marduk, who became the supreme deity of Babylonia after Babylon became the capital of the Kingdom, thus during Hammurabi’s reign, around the 2nd millennium (18th century) BC. The creation of the epic belongs to an earlier period.” But there are also other versions concerning the dating of the ‘Epic of Gilgameš’.

qarTvel kaTolikeTa savane, stamboli / GEORGIAN CATHOLICS MONASTERY, ISTANBUL

avtografia 1891 wels gamoaqveyna germanelma asiriologma paul hauptma (Haupt P., Das Babylonische Nimrodepos, Leipzig, 1891). amave wels gamovida `gilgameSianis~ germanul enaze Sesrulebuli Targmanic alfred ieremiasi (Izdubar-Nimrod. Eine altbabylonische Heldensage. Nach den Keilschriftfragmenten dargestellt von Dr. Alfred Jeremias, Leipzig, 1891), xolo 1901 wels gamoqveynda eposis inglisuri Targmani (The Epic of Gilgamesh. Adapted and Modernized from the Translation of William Muss-Arnolt, 2nd Millenium BCE, 1901). cota mogvianebiT, kerZod, 1907 wels gamoica misi franguli versiac (L’Épopée de Gilgamès, traduit par Éduard Dhorme, Paris, 1907)). mixako wereTlis mier qarTulad gadmoRebuli `gilgameSiani~ ki, eposis msoflio mTargmnelobiT tradiciaSi, rigiT meoTxea! mixako wereTeli brZanebs, rom `sityvasityviT misdevs~ am eposis lursmuli teqstis hauptiseul gamocemas, romelic qarTul teqsts aqadur originalTan aaxlovebs da mecnierulad ufro sandos xdis. mTargmnelis poetur Txrobas odnav arqauli Seferilobac dahkravs, rac mkiTxvelSi qronologiuri Tanxvedris asociacias iwvevs. faseulia is garemoebac, rom Cveni TanamedroveobisTvis erTob Znelad gasagebi da aRsaqmeli aqaduri idiomuri gamonaTqvamebi an sxva xasiaTis frazeologiuri niuansebi, qarTulad ostatobiTaa SerCeuli. yovelive es, erTad aRebuli, mixako wereTliseuli poeturi qmnilebis

gilgameSianis meore gamocema Tsu 2010 / SECOND EDITION OF GILGAMEŠIANI, TSU 2010

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iseTi Rirsebaa, rac qarTul `gilgameSians~ Cveni mravalsaukunovani da mdidari mTargmnelobiTi kulturis erT-erT brwyinvale nimuSad aqcevs. is epikuri teqstebi, romlebic gilgameSs eZRvneba, erTmaneTisgan 1500 wliTaa daSorebuli. Zveli aRmosavleTis oTx enaze _ Sumerulze, aqadurze, xeTursa da xuritulze Sesrulebuli versiebi gilgameSis Sesaxeb, firfitaze lursmuli damwerlobiTaa Cawerili. mixako wereTeli mokrZalebiT aRniSnavs, rom poema unda Seqmniliyo `albaT III aTaswleuls qristes win. ufro zustad ki eposSi ar ixsenieba RmerTi marduk, romelic babiloneTis umTavres RmerTad iqca mas Semdeg, rac babiloni gaxda am samefos sataxto qalaqi. e.i. hammurapis epoqaSi. miaxloebiT XVIII saukuneSi qr. win eposis Seqmna am epoqis wina dros ekuTvnis~. Tumca, arsebobs sxva versiebic `gilgameSis eposis~ daTariRebis Sesaxeb. poemis struqturaze mixako wereTeli wers: `gilgameSiani mraval nawilTagan Sesdgeboda da ueWvelia, TviToeuli nawili Tavdapirvelad damoukidebeli Tqmuleba unda yofiliyo da Semdeg SeuerTebia es damoukidebeli Tqmulebani meleqseTa Semoqmedebas erT eposad da mis umTavres momqmed pirad gauxdia gmiri gilgameS~. am SemTxvevaSi, wereTlis naTqvami, rac maSin dausabuTebeli iyo, Semdgomi gamokvlevebiT damtkicda. mixako wereTeli wers: `gilgameSianis Semoqmedzed sruliad ara viciT ra da sazogadod Zvel aRmosavleTSi Zlier Zvirad aRniSnavdnen xolme saxels did mweralTa da xelovanTa. maTi pirovneba ar ainteresebda aRmosavleTs, radganac pirovnebis Rirebuleba ara hqonda mas Segnebuli~. poemis avtori dResac ar aris cnobili. momavalSi SeiZleba aRmoCndes raime sabuTi, rac fardas axdis am saidumlos, radganac, ueWvelia, rom `gilgameSis eposi~ erTi `duf-saris~ (mwerlis) mieraa Seqmnili. is mihyveba erT ideas da iyenebs mxolod im simRerebsa da miTebs, romelic am ideas asxams xorcs. es aris idea, adamianis, kacobriobis bedisa. Tbilisis saxelmwifo universitetSi, asiriologiis kaTedraze mzaddeba Sumeruli da aqaduri `gilgameSianis~ sruli gamocema, romelSic warmodgenili iqneba eposis lursmuli teqstebis avtografiebi, laTinuri anbaniT Sesrulebuli transliteraciebi, teqstebis sityvasityviTi Targmanebi sruli leqsikoniT da lursmul niSanTa cxrilis TandarTviT. dainteresebul mkiTxvels SesaZlebloba Seeqmneba imisa, rom mixako wereTlis Targmani yovelmxriv Seudaros dedniseul teqstebs da srulyofili warmodgena Seiqmnas mixako wereTlis mTargmnelobiT (da aramarto) udides ostatobaze.

About the structure of the poem, Mikhako Tseretheli writes: “The Epic of Gilgameš consisted in several parts, and it is beyond doubt that these parts were at first stories that were independent from each other, and that afterwards, these independent parts were unified into one epic by the work of writers (“dup-šar”), who turned Gilgameš into its main protagonist.” In this case, Tseretheli’s views, which were then unsubstantiated, were corroborated by research. Mikhako Tseretheli wrote: “We don’t know anything about Gilgamešiani’s author, and in general, in the ancient Near East, they wouldn’t mention the names of great writers (“dup-šar”) and poets. In Mesopotamia, there wasn’t much interest towards individuals, as the latter weren’t valued.” To this day, we don’t know who is the author of the poem. In the future, some cuneiform source might appear and reveal this secret, as the ‘Epic of Gilgameš’ was obviously created by a single “dup-šar” (writer). He follows one idea and uses only the songs and legends that substantiate it. It is the idea of the fortune of humans and humanity. The Department of Assyriology of the Tbilisi State University is preparing the publication of the Sumerian and Akkadian versions of the ‘Epic of Gilgameš’, in which readers will find facsimiles of the epic’s cuneiform texts, transliterations in Roman letters, a word-for-word translation of the texts with a comprehensive glossary, and a table of cuneiform signs. Interested readers will be able to compare Mikhako Tseretheli’s translation to the original versions, and will have a complete picture of his great mastery at translation – and in other fields.

nino samsonia, jemal SaraSeniZe

Nino Samsonia, Jemal Sharashenidze

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`,,mdgomareobebidan~ gamosavali

A WAY OUT OF “CONDITIONS” SeiZleba iTqvas, Tanamedrove xelovnebas (contemporary art) terminebi `mxatvari~ da `mxatvroba~, pirdapiri mniSvnelobiT, arqauli gansazRvrebebiviT SemorCa. Tuki, SeCveuli viyaviT im faqts, rom vizualur xelovnebaSi ferweras dominanturi roli hqonda, axali esTetikuri Rirebulebebi, gamomsaxvelobiTi saSualebebis Sesaxeb, tradiciul warmodgenebs Zireulad cvlis... `mxatvrobis dasasrulze~ polemika karga xnis Cavlili ambavia da axla, post-mxatvrobisa Tu anti-mxatvrobis realobaSi gviwevs yofna. Tanamedrove xelovneba `cxovrebasTan~, anu Cvens irgvliv mimdinare movlenebTan, iseTive interaqtiul damokidebulebaSia, rogorSic mxatvris funji _ tilosTan.

One could say that in Georgian, the terms “mkhatvari” (painter/ artist) and “mkhatvroba” (painting/art) have persisted in contemporary art as archaic definitions. If we were used to the fact that painting had a dominant role in visual arts, new aesthetic values have fundamentally transformed the traditional approach to mediums of representation… The polemic about the “demise of painting” has long been closed, and we are now dealing with a postor an anti-painting reality. Contemporary art is in a dependency with “life”, or in other words, with the events occurring around us, that is as interactive as that of the painter’s brush with the canvas. Kazimir Malevich was probably one of the firsts to start experimenting and shaping a completely “new reality” based on this research. By displaying his ‘Black Square’ in the corner of an exhibition

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albaT, kazimir maleviCi iyo erT-erTi pirveli, vinac Ziebebis safuZvelze sruliad `axal realobas~ daudo saTave. man sagamofeno sivrcis romeliRac kuTxeSi, `Savi kvadratis~ demonstrirebiT, mizanmimarTulad daafiqsira ferweris dasasruli. mxatvarma, aseTi perspeqtiviT, xelovneba sabolood gamijna platonis ideebis koncefciidan da raime `uxilavi~, transcendenturi realobis gamoxatva SeuZleblad gamoacxada. axali tipis xelovnebis esTetikuri Rirebulebebi imTaviTve or mTavar safuZvelze idga da dResac dgas; esaa _ droTa ganmavlobaSi evropuli humanizmidan posthumanizmad qceuli ideebi da mecnierul-teqnikuri progresi. Tanamedrove saazrovno sivrceSi posthumanizmis ideebi ganixileba, rogorc renesansisa da ganmanaTleblobis epoqebSi Camoyalibebul anTropocentristul Rirebulebebze reaqcia. garemoSi adamianis dominanturi rolis Semcireba da misi gaazreba Tanaswor damokidebulebaSi danarCen samyarosTan, posthumanisturi warmodgenebis ZiriTadi koncefciaa. kacobriobis azrovnebaSi mimdinare amgvari cvlilebebi, Tanamedrove teqnologiebis ganviTarebasTanaa

space, he purposefully stated the end of painting as such. With this approach, the artist has definitively demarcated art from Platoâ&#x20AC;&#x2122;s ideas, and declared the impossibility of expressing an â&#x20AC;&#x153;invisibleâ&#x20AC;?, transcendental reality. The aesthetic values of this new type of art were based on two main premises from the very beginning, and it is still the case today; they are, on the one hand, ideas that gradually shifted from European humanism to post-humanism, and on the other hand, scientific and technical developments. In the modern mindset, post-humanistic ideas are considered to be a reaction to the anthropocentric values of the Renaissance and Enlightenment. The major concept of post-humanism is the decrease of the dominant role of humans in nature, and an approach to humans that makes them equal to the rest of the universe. These kinds of transformations in human consciousness happen in parallel to modern technological developments. The Information Age now belongs to the past, and the all-encompassing technological dominance that was characteristic of that period was neutralized by new, post-digital tendencies. Accordingly, the approach to technology takes place more and more in a biological and cultural context, which leads to an increased focus on actual events and the human factor.

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TanxvedraSi. sainformacio epoqa ganvlili procesia da am periodisTvis damaxasiaTebeli teqnologiebis yovlismomcveli upiratesoba, axali post-cifruli tendenciebiT ganeitralda. Sesabamisad, teqnologiebis ganxilva sul ufro aqtiurad xdeba biologiur da kulturul konteqstSi, rac samyaros realuri movlenebisa da adamianuri faqtoris win wamowevas gulisxmobs. saqarTvelo, am globalur movlenebSi, sxvadasxva xarisxiTa da intensivobiT iyo CarTuli. gasuli saukunis miwuruls, erovnuli moZraobisa da qveynis damoukideblobis mopovebis paralelurad, ZiriTadad TbilisSi, dasavlur xelovnebasTan ziarebis precedentebi met-naklebi sixSiriT fiqsirdeboda (samxatvro akademiis `X sarTuli~, yofili respublikis moednis miwisqveSa sivrce da sxv.) Tumca, imdroindeli qarTuli Tanamedrove xelovnebisTvis, ufro damaxasiaTebeli mimbaZvelobiTi da arakonceptualuri Ziebebis safuZvelze damuSavebuli tendenciebis Cveneba iyo. amas, sabWoeTSi arsebuli informaciuli SezRudulobiTa da dasavleTTan kavSiris ararsebobiT xsnidnen. magram, qarTul Tanamedrove

Georgia was involved in these global processes in various ways and degrees. In the end of the last century, in parallel to the national movement and the country’s accession to independence, and mainly in Tbilisi, there were more or less frequent cases when Georgians would share their art with the West (including the ‘10th Floor’ of the Academy of Arts and the underground space below the former Republic Square). Nevertheless, tendencies based on imitative and non-conceptual research were more characteristic of the Georgian contemporary art of that time. This can be explained by the limited availability of information in the Soviet Union, as well as the lack of contact with the West. But this very “simple” approach of Georgian contemporary art has become an indelible cliché in the 1990s. The situation would later change for the better, precisely because of a reevaluation of the Georgian avant-garde in the 1910s and 1920s. The emergence of the Blue Horns (‘Tsisperkantselebi’), Niko Pirosmani, David Kakabadzé, the Zdanevich brothers, and more generally, of the “Tbilisian avant-garde”, has shown the way to the development of contemporary art. This “restoration” has provided confidence to Georgian contemporary art, and made the artistic processes of the 21st century much more interesting and topical in essence.

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xelovnebas aseTi `martivi~ damokidebuleba, 90-ian wlebSi mouSorebel kliSed eqca. mogvianebiT, mdgomareoba ukeTesobisken, XX saukunis 10-20-ani wlebis qarTuli avangardis sworad gadaazrebam Secvala. cisferyanwelebis, niko firosmanis, daviT kakabaZis, Zmebi zdaneviCebis da, zogadad, „tfilisuri avangardis“ win wamowevam, qarTuli Tanamedrove xelovneba ganviTarebis sakuTar gzaze daayena. am „Semobrunebam“ qarTul Tanamedrove xelovnebas Tavdajereba Semata da XXI saukunis saxelovnebo procesebi SinaarsiT gacilebiT saintereso da aqtualuri gaxada. ... Tanamimdevruli kulturuli ganviTarebis konteqsts kargad exmianeba axali Taobis qarTveli kuratorebis vato uruSaZis, xatia WoxoneliZisa da giorgi spanderaSvilis pirveli erToblivi, ambiciuri proeqti. maT mier organizebuli gamofena saxelwodebiT `mdgomareobebs Soris~, gasuli wlis 7 dekembridan mimdinare wlis 23 Tebervlamde, axladgaxsnil „xidi _ Tanamedrove xelovnebis galereaSi“ gaimarTa.

... The ambitious, first joint project of three Georgian curators from the new generation, namely Vato Urushadze, Khatia Chokhonelidze and Giorgi Spanderashvili, echoes this context of consistent cultural development. Named ‘In-between conditions’, the exhibition was inaugurated on the 7th of December 2018 and lasted until the 23rd of February of this year, and took place at the ‘Khidi Contemporary Art Space’. On the one hand, the exhibition has dealt with the sociopolitical circumstances (“conditions”) existing around us in a “historical” context, and on the other hand, it showed the perspective of an alternative future development of these circumstances. New aesthetic values and the specificity of the contemporary post-digital period were the focal points used in an utterly interesting way by up to 20 artists who have taken part in the exhibition. If we follow the path of cultural development, in the first place, we have to say a few words about the work of multimedia artist Mamuka Japaridze. Titled ‘Names’, this video installation and its sound incorporations were stressing noteworthy aspects regarding our contemporary times. The artist has reconsidered the brutal practice of scratching out names on trees in an aesthetic way, and together

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gamofenam, erTis mxriv, Cvens irgvliv arsebuli socialpolitikuri movlenebi („mdgomareobebi“) `istoriul~ konteqstSi gaiazra, meores mxriv ki, am movlenebis samomavlo ganviTarebis alternativiT Canacvlebis perspeqtiva aCvena. axali esTetikuri Rirebulebebi da Tanamedrove post-cifruli periodis specifika swored is orientirebia, romlebic gamofenaSi monawile ocamde artistma sainteresod gamoiyena. Tuki kulturuli ganviTarebis xazs gavyvebiT, pirvel rigSi, multimedia artistis mamuka jafariZis namuSevars unda SevexoT. video-instalaciiTa da xmovani CarTvebiT warmodgenili namuSevari _ „saxelebi“ _ TanamedroveobasTan dakavSirebiT sayuradRebo aqcentebs svamda. xeebze saxelebis amokawvris brutaluri praqtika artistma esTetikurad gadaiazra da maTTvis „saxis“ miniWebasTan erTad, lingvistur-saund (xmovanlingvistur) da vizualur doneze vaJa-fSavelas cnobili ideis _ „yvelafers Turme ena aqvs, ara yofila urjulo“ interpretacia SemogvTavaza. adgilis specifikis gaTvaliswinebiT Tu ideis prezentaciis safuZvelze, sivrcis masStaburad aTvisebis magaliTebi, gamofenaze ramdenime avtors gansxvavebulad hqonda naCvenebi. galereaSi arsebuli oTxi veeberTela gvirabi mTlianad iyo aTvisebuli vizualuri da xmovani saSualebebiT. Tornike qarCxas interaqtiuli programirebis Sedegad miRebuli originaluri nimuSebis efeqturobas (Climbing the Rainbow) kargad pasuxobda giorgi sumbaZis mier internetsivrceSi „napovni“ gamosaxulebebis geometriuli kombinaciuroba, dima dadianis musikaluri kompoziciis TanxlebiT (JavaJava). gvirabebSi Semdgar kidev erT TanamSromlobas (sandro asaTiani/zura jiSkariani. Seikilo Epitaph) ufro mistikur planSi gadavyavdiT da gardacvlili adamianis mogonebebTan interaqtiuli wvdomis SesaZleblobas „cxadad“ warmogvidgenda.

with assigning them a “face”, he offered us a linguistic-sound and visual interpretation of Vazha Pshavela’s famous idea – “It turns out everything has its language, there are no infidels”. Whether due to the specificity of the location or to the essence of their artworks, some artists have shown examples of utilizing available space on a large scale in a different way. The four gigantic tunnels of the gallery were fully exploited, with both visual and sound installations. The original effect resulting from Tornike Karchkha’s interactive programming (‘Climbing the

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nikoloz kapanaZis iluminaciuri namuSevari „leTe“ kargad iyo morgebuli adgilis specifikas, radgan, avtoris mier miTologiuri `miwisqveSa mdinareebis~ ideis sagamofeno sivrceSi SemotaniT, xids TiTqosda „daubrunda“ pirvandeli daniSnuleba. `saundis~ (xmovanebis) specifikis gamoyenebiT, hongkongeli artistis jasper fungis namuSevars („bevri patara adamiani“) gansxvavebul realobaSi, berlinis erT-erT savaWro centrsa da hong-kongis quCebSi „Segrovebuli“ urbanuli xmebis garemocvaSi gadavyavdiT. mariam natroSvilsa da deTu jinWaraZis mier gasuli saukunis 80-90-iani wlebis qarTuli presidan aRebuli fraza `ardaviwyeba~, kargad exmianeboda giorgi maRraZis neonis ganaTebis usaTauro instalacias - #. gamofenaze, axalgazrda artistebis gaerTianeba in China Collective (goCa JRenti, iveta CxikvaZe, zura cofuraSvili, aleqsi soselia, ilia maxaraZe) vizualurkonceptualuri mxaris prezentaciasTan erTad, diskusiis SesaZleblobasac gvaZlevda. am `koleqtivSi“ Semavali

Rainbow’) was well complemented by Giorgi Sumbadze’s geometric combinations of visuals he “found” on the internet, with the accompaniment of Dima Dadiani’s musical composition (‘JavaJava’). Another collaborative work (Sandro Asatiani / Zura Jishkariani – ‘Seikilo Epitaph’) presented in the tunnels brought spectators in a more mystical realm, “clearly” manifesting the possibility of an interactive access to the memories of a deceased individual. Nikoloz Kapanadze’s illuminative work ‘Lethe’ made good use of the specificity of the place, as by bringing the idea of mythological “underground rivers” into the exhibition space, it was as if the author “returned” its primordial purpose to the bridge. By using the place’s acoustics, Hong Kong artist Jasper Fung’s work (‘Many Little People’) made us travel in another reality, in the urban sounds he “gathered” in a shopping mall in Berlin and in Hong Kong’s streets. Taken from the Georgian press of the 1980s and 1990s, Mariam Natroshvili and Detu Jincharadze’s phrase ‘Ardavitskeba’ (roughly “not forgetting”) echoed Giorgi Maghradze’s untitled neon lighting installation – #.

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TiToeuli artistis damoukidebeli namuSevari goCa JRentis mier brutalobisa da eleganturobis zRvarze Seqmnil rkinis did konstruqciaSi erTiandeboda _ zura cofuraSvilis eqsperimentuli audio-albomi `bani~ ganaTlebis alternatiuli modelis Ziebas exeboda; ilia maxaraZis molekuluri kulinariis principebze Seqmnili obieqtis daTvaliereba da dagemovnebac erTdroulad SegveZlo da aleqsi soselias bavSvobis „mogonebebze“ dafuZnebuli instalacia momavlis teqnologiebze akeTebda aqcents. galereis eqspoziciaSi naCvenebi „moZravi gamosaxulebebis“ video-esTetika xan vasil maWaraZisa da koka vaSakiZis avtomobilebis Suq-Crdilebis efeqtiT axdenda sivrcis intervencias („Crdilebis arqivi“), xanac daSlili da fragmentirebuli realobis prezentacias cdilobda hendelis barokos musikis fonze (nika maCaiZe. Marry go Around). xolo, Tamar gurgeniZis video-animacia „juli“ ki ufro metad adamianis uxilav grZnobebis vizualizacias usvamda xazs.

At the exhibition, together with a visual-conceptual side, the young artists group ‘in China Collective’ (Gocha Zhgenti, Iveta Chkhikvadze, Zura Tsopurashvili, Aleksi Soselia, Ilia Makharadze) also presented us with an opportunity for discussion. Independent works from each of the artists of this collective were unified in a large metal construction by Gocha Zhgenti, which was on the verge of brutalism and elegance; Zura Tsopurashvili’s experimental audio album ‘Bani’ explored an alternative education model; Ilia Makharadze’s creation, based on molecular culinary principles, allowed for both visual and gustative experiences, and finally, Aleksi Soselia’s installation, based on childhood “memories”, was revolving around future technologies. The video aesthetics of “moving images” shown at the gallery’s exhibition was sometimes achieving spatial intervention through the automobile lights and shadows effect by Vasil Macharadze and Koka Vashakidze (‘Shadows Archive’), and was sometimes trying to present a dispersed and fragmented reality with Haendel’s baroque music in the background (Nika Machaidze – ‘Merry go round’). As for Tamar Gurgenidze’s video-animation “Julie”, it was a visualization of invisible human feelings.

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lado onianis video namuSevari, quCis sxvadasxva detalebisa Tu kompiuterulad generirebuli gamosaxulebebis gamoyenebiT, erT mTlian istorias qmnida. sainformacio saSualebebis mimarT kritikuli damokidebuleba kargad SeimCneoda vato wereTlis „Tavis TavSi Cabrunebul“ namuSevarSi („televiziis pirdapiri eTeri“), rodesac obieqtisa da sainformacio wyaros mWidro interaqciaSi faqtobrivad ar arsebobs analizisa da jansaRi daskvnebis gamotanis SesaZlebloba. germaniaSi moRvawe qarTveli artisti tilda jorji, mediis Tematikas, cifruli xerxebis meSveobiT, realobis formirebisa da imave realobis dekonstruqciis SesaZleblobas gviCvenebda („darRveuli silamaze“). „sainformacio omis“ Zalmomreobas alegoriulad asaxavda mamuka oqroscvariZis Seqmnili foladis, usasrulobaSi Cakarguli, „morbenali striqonis“ abstraqtuli improvizacia (Content Unavailable). rac Seexeba xis, rkinis, plastmasis da inoqsis „konservatul“ masalaSi Sesrulebul lado lomitaSvilis instalacias - „ar mWirdeba xelis dabana“ _ mkveTrad konceptualuri saxe hqonda, radgan deklarirebulad istoriis gadafasebis tendenciaze iyo agebuli. sxva tradiciuli media _ fotografia, Tan poetur-samecniero konteqstSi, sainteresod qonda interpretirebuli sandro sulaberiZes namuSevarSi „mzeo amodi“. galereis erTaderTi karidan SemoWrili mzis sxivebi, kedelze dakidebuli fotoqaRaldebi da „sasuraTe obieqtebi“ mTel galereas mcire xniT grandiozul fotolaboratoriad aqcevda. Suqis zemoqmedebiT, qaRaldze nel-nela „planetebi“ Cndebodnen da aseTi perspeqtiva, ukidegano realobaSi yofnis iluzias qmnida... mzis Suqi da haeri saWiro mediumi iyo imisaTvis, rom gamofenaze adamiansa da teqnologiebs Soris warmoqmnili urTierToba Zlier bunebriv substanciasac gaemyarebina, imitom rom: „garemoebebisTvis“ da „Savi sicarielisTvis“ ufro moxerxebulad dagveRwia Tavi. `xidis~ sagamofeno sivrceSi sami Tvis ganmavlobaSi mimdinare gamofena, kuratorebis mier periodulad axldeboda xolme sxvadasxva tipis Sexvedrebisa da diskusiebis organizebiT. amgvari gansxvavebuli midgomebiTa da, zogadad, saintereso formatidan gamomdinare, gamofenam Tanamedrove qarTul xelovnebaSi mimdinare procesebs erT-erT mniSvnelovan kulturul movlenad daimkvidra adgili. edeSer beraZe

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Lado Oniani’s video artwork created a unified story from various details taken from the streets and computer-generated images. One could very well perceive criticism against information outlets in Wato Tsereteli’s artwork (‘Live Transmission’), when there is practically no room left for analysis and healthy deductions because of the close interaction between the subject of the broadcast and the information source. Germany-based Georgian artist Tilda George also tackled the theme of media, and showed us the possibilities of shaping and deconstructing reality through the use of digital tools in her work ‘Impaired Beauty’. Mamuka Okrostsvaridze’s steelwork’s (‘Content Unavailable’) abstract improvisation, a “running text line” lost in infinity, was depicting the violence of information warfare in an allegoric way. As for Lado Lomitashvili’s installation (‘I don’t need to wash my hands’), done in the “conservative” materials that are metal, plastic, and onyx, it was clearly conceptual, as it was explicitly based on the tendency of reevaluating history.

Sandro Sulaberidze’s artwork ‘Sun, Come Up’ interpreted other traditional media – photography, taken in a poetic-scientific context – in an interesting manner. The sunrays sneaking in the gallery from the only door, the photographs and “photographable locations” hanging on the wall were transforming the whole gallery into a grandiose photography lab for a short time. Under the light, “planets” were slowly appearing on paper, and this perspective was creating the illusion of a boundless reality... Sunlight and air were necessary media in order for strong natural substances to strengthen the established relation between humans and technology at the exhibition, in order to better be able to run away from “conditions” and “black emptiness”. For three months, the exhibition was revived by various types of meetings and discussions periodically arranged by the curators at Khidi’s exhibition space. Through such different approaches, and more generally, through this interesting format, the exhibition established itself as one of the important cultural events in the field of Georgian contemporary art. Edisher Beradze

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muzeumebs, romelTac ar vicnobT... saqarTvelos istoriiTa da kulturiT dainteresebuli adamianebisaTvis Tbilisis muzeumebSi daculi brwyinvale masala met-naklebad cnobilia; damTvaliereblebis naklebobas arc quTaisis, baTumis, axalcixis, mestiisa Tu sxva, turistuli marSrutebis siaxloves mdebare muzeumebic uCivian. magram sxva mdgomareobaa mcire qalaqebsa da municipalur centrebSi: ucxoel turistebze rom araferi vTqvaT, qarTuli sazogadoebisaTvisac ki TiTqmis ucnobia is didi saganZuri, romelic aseT sivrceebSia daculi.

Museums that are unknown to us... The splendid items kept at Tbilisiâ&#x20AC;&#x2122;s museums are more or less known to the people who are interested in Georgian history and culture; the museums of Kutaisi, Batumi, Akhaltsikhe, Mestia and other places located near touristic routes canâ&#x20AC;&#x2122;t complain from a lack of visitors either. But this is different when it comes to small cities and municipal centers: even if we forget about foreign tourists, the great treasures that one can find in these spaces are almost completely unknown to the Georgian public.

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kaspis muzeumis TanamSromlebi: nana merebaSvili, Tina maisuraZe, lana TaTanaSvili, Tea biWikaSvili, Giorgi Caduneli, neli niazaSvili, maia gaboZe, ioram imedaSvili THE PERSONNEL OF THE KASPI MUSEUM: NANA MEREBASHVILI, TINA MAISURADZE, LANA TATANASHVILI, TEA BICHIKASHVILI, GIORGI CHADUNELI, NELI NIAZASHVILI, MAIA GABODZE, IORAM IMEDASHVILI.

Cven werilSi, kaspis giorgi xorguaSvilis saxelobis mxareTmcodneobis muzeums gagacnobT. is 1960 wels daarsda da 1963 wlidan 2005 wlamde saTaveSi mwerali, sazogado moRvawe giorgi xorguaSvili edga. muzeumis misamarTia _ kaspi, saakaZis # 88 da masSi pirvel sarTulze sacavebi da didi darbazia ganlagebuli, droebiTi gamofenebisa da sxvadasxva RonisZiebebisTvis,

In this article, we will get you acquainted with Kaspiâ&#x20AC;&#x2122;s Giorgi Khorguashvili Museum of Local Lore. It was founded in 1960, and from 1963 until 2005, it was headed by writer and public figure Giorgi Khorguashvili. The museum is located in Kaspi, on #88 Saakadze Street, and hosts reserves and a large hall on the ground floor for temporary exhibitions and various events, and a permanent exhibition on the first floor, which was opened about two years ago.

xovlegora, sacxovrebeli saxlis fragmenti. gvianbrinjao-adrerkinis xana KHOVLEGORA, FRAGMENT OF A DWELLING. LATE BRONZE-EARLY IRON AGE

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satevari, gvianbrinjaos xana DAGGER, LATE BRONZE AGE

meore sarTulze ki mudmivmoqmedi eqspoziciaa gamarTuli, romelic oriod wlis win ganaxlda. muzeumSi daculi adre da Suabrinjaos xanis eqsponatebi (Zv.w. III aTaswleuli _ Zv.w. II aTaswleulis I naxevari) yorRanebSi da cixiagoras namosaxlarzea aRmoCeneli. maT Soris uadresi cixiagoras, soflebSi _ doessa da qvemo xandakSi napovni keramikuli WurWelia, romelic Zv.w. III aTaswleuliT TariRdeba. Suabrinjaos xanis (Zv.w. II aTaswleulis I naxevari) masala warmodgenilia aSurianis velze da sofel metexTan Seswavlil yorRanebSi aRmoCenili keramikiT, iaraRiTa da samkauliT. muzeumis koleqciebis didi nawili gvianbrinjaos xanis eqsponatebs ukavia, romlebic Tixis WurWliT, brinjaos sabrZolo (aRmosavlurqarTuli culebi, Subispirebi, satevrebi. maxvilebi), da samuSao iaraRiT (e.w. brtyeli culi, satexi, namglispiri da ori Toxi), cxenis aRkazmulobiT, tansacmlis detalebiTa da samkauliTaa warmodgenili... 1979 wlamde muzeumSi inaxeboda sofel reneSi napovni, brinjaos, mTlianad ornamentirebuli, yuaze mglis skulpturiani aRmosavlurqarTuli culi, romelic imave wels moskovSi mowyobili gamofenidan gaqra. aRsaniSnavia Zv.w. IX-VII saukuneebiT daTariRebuli, brinjaosave 1,5 mm-is sisqis furclisagan damzadebuli gravirebuli sartyelic, romelsac garda TavdacviTi, albaT, sakulto mniSvnelobac hqonda.

maxvili. gvianbrinjao SWORD, LATE BRONZE AGE.

The Early and Middle Bronze Age exhibits preserved at the museum (3rd millennium BC – first half of the 2nd millennium BC) were discovered in kurgans and the Tsikhiagora site. The earliest are ceramic pottery items found on the latter’s territory, in the villages of Doesi and Kvemo Khandaki, which date back to the 3rd millennium BC. The material from the Middle Bronze Age (first half of the 2nd millennium BC) consists of pottery, weaponry and jewelry that were discovered in kurgans located in Ashuriani and in the vicinity of the village Metekhi. A large part of the museum’s collections is made up of Late Bronze Age exhibits: clay pottery, bronze weaponry (eastern Georgian axes, spearheads, daggers and swords) and tools (a so-called flat axe, chisel, sickle, and two hoes), horse harnesses, details of garments, and jewelry... A fully ornamented Eastern Georgian axe cast in bronze that was discovered in the village of Rene, and presenting a wolf statuette on the back of the blade, was also kept at the museum, until it disappeared from an exhibition arranged in Moscow in 1979. Another noteworthy exhibit is an engraved belt made from a 1,5 mm-thick sheet of bronze and dating back to the 9th-7th centuries BC; apart from a defensive function, it probably also had a ritual role. A residential house taken from the multi-layered Khovlegora settlement (9th-7th centuries BC) is also preserved in the Museum. The foundations of this one-room structure with straight angles are constructed with stone and clay; its wooden beam walls are covered in clay from both sides, and it was probably flat-roofed; the exhibition

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muzeumSi daculia xovlegoras mravalfeniani namosaxlaridan gadmotanili sacxovrebeli saxli (Zv.w. IX-VII ss). gegmiT sworkuTxa, erToTaxiani nagebobis saZirkveli qviTa da TixiTaa agebuli, romlis Zeluri kedlebi ormxriv TixiTaa Selesili da da savaraudod, banuri gadaxurva unda hqonoda; eqspoziciaSi warmodgenilia mxolod saxlis ukana nawili, romlis marcxena kuTxeSi Rumelia, marjvena kuTxeSi ki TixiT naZerwi verZis TavebiT Semkuli sakurTxevelia gamarTuli.

ornamentirebuli Subispiri, gvianbrinjao. ORNAMENTED SPEARHEAD. LATE BRONZE AGE

antikuri xanis (Zv.w. IV- ax.w. IV saukuneebi) nimuSebi muzeumis eqspoziciaSi warmodgenilia aqemeniduri da elinisturi xanis wiTlad moxatuli WurWliT, samkauliTa da saritualo nivTebiT. sayuradReboa sofel sasireTSi mikvleul samarxSi aRmoCenili mooqrovili vercxlis disko da vercxlis xatisuReli (sakisre rgoli). savaraudod, es nivTebi adgilobrivi ostatis naxelavia da Zv.w. III saukuniT TariRdeba. interess iwvevs sof. kavTisxevis `sayaraulo seris~ samarovanze aRmoCenili selisagan dawnuli maTarac (Zv.w. I _ ax.w. I ss.), romelic Signidan kupriTaa gamolesili.

ornamentirebuli culi renedan, asli, gvianbrinjaos xana ORNAMENTED BATTLE-AXE FROM RENE. REPRODUCTION

only displays the rear part of the house, which includes an oven in the left corner, and an altar adorned with ram heads molded in clay. Exhibits from Antiquity (4th century BC – 4th century AD) are displayed in the museum in the form of pottery, jewelry and ceremonial items from the Achaemenid and Hellenistic periods, which are painted in red. Particularly worth noting are a gilt silver discus and a silver neck ring discovered in a pit burial during archaeological digs in village Sasireti. Both were probably made locally, and are dated to the 3rd century BC. Another noteworthy exhibit is the flax-wattled flask (1st century BC – 1st century AD) discovered in village Kavtiskhevi’s ‘Sakaraulo Seri’ burial ground, the inside of which is covered with tar. Another utterly interesting piece is the bronze Dionysus statuette, which was discovered by chance in

balTa, gvianbrinjao / BUCKLE, LATE BRONZE AGE

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vercxlisa da brinjaos samkauli, Zv.w. IV-III saukuneebi. SILVER AND BRONZE ADORNMENTS, 4TH-3RD CENTURIES BC.\

uaRresad sainteresoa dionises brinjaos qandakeba, romelic sofel kodiswyaroSi SemTxveviT aRmoCnda, misi simaRle -22 sm-ia da uciloblad originalia. rogorc Cans, is Sandlisa an sxva nivTis nawili unda yofiliyo. qandakeba qalurad nazi da moxdenili proporciebis SiSveli mamakacis gamosaxulebas warmoadgens, romlis Tmis varcxniloba suros foTlebiani bafTiTa da yurebTan dakidebuli yurZnis mtevnebiTaa Semkuli; tanis poza dionises ikonografiisTvisaa damaxasiaTebeli. nivTi dazianebulia, mas marjvena fexis nawili aklia da savaraudod marjvena xeliT sasmisi (kanTarosi) ekava, marcxenaTi ki kverTxs (Tirsoss) eyrdnoboda. qandakeba mcire aziis an aleqsandriis romelime saxelosnoSi, Zv.w. III-II saukuneebSi unda iyos damzadebuli. brinjaos dazianebuli sura (ionoxoia) sof. metexidan, italikuri nawarmia da savaraudod, Cveni welTaRricxvis pirveli saukuniT TariRdeba. WurWlis tani Camosxmuli da Semdeg Carxzea damuSavebuli, calke Camosxmuli yuri WurWlis pirze da mxarze iyo mirCiluli. mxarze gravirebiT gamoyvanilia rkaliseburi formis, bafTebiT

village Kodistskaro. It is 22-centimeters-high, and is very original. It was probably part of a candle holder or some other object. The statuette represents a naked man with a graceful, woman-like body of shapely proportions, his hair adorned with a ribbon of ivy leaves, and bundles of grape hanging over his ears. The pose of the statuette is characteristic of Dionysus’ iconography. The statuette is damaged – it lacks part of its right leg – and was probably holding a drinking cup (Kantharos) in his right hand, and leaning on a scepter (Thyrsus) with his right. The statuette was most probably prepared in a workshop in Asia Minor or Alexandria in the 3rd-2nd centuries BC. The damaged bronze jug (oenochoe) found in village Metekhi is of Italic origin and is dated to the 1st century AD. The body of the margalitis sakidiani sayure, IV saukune EARRING WITH PEARL PENDANT. 4TH CENTURY BC

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Sekruli, dafnis foTlebis oTxi wnuli. rkalebs SigniT TiTo vardulia. wnulebs erTmaneTTan akavSirebs xaris Tavis ori stilizebuli gamosaxuleba. ornamenti vercxliT iyo inkrustirebuli. WurWlis yurze arsebuli gamosaxulebebi masTan brinjaos sabeWdavi beWedi, Zv.w. I saukune erTadaa Camosxmuli; BRONZE SEAL, 1 CENTURY AD pirTan mierTebis adgilas moTavsebulia qalis Tavis skulpturuli gamosaxuleba, romelsac mxrebsa da Tavze lomis tyavi aqvs mosxmuli. qalis gamosaxuleba, savaraudod, miTiur dedofal omfales unda ekuTvnodes, romelic tyveobaSi myof herakles dasamcireblad, mis mierve mokluli lomis tyavs wamoisxamda xolme, herakles ki aiZulebda qalis tansacmeli Caecva. yuris qveda nawilze, reliefurad gamosaxulia dionises wris RvTaeba, misi aRmzrdeli _ sileni cxoveluri yurebiTa da misTvis damaxasiaTebeli nakvTebiT. ax.w. II-III saukuneebiT TariRdeba sof. gostibeSi aRmoCenili brinjaos balTa da vercxlis Tasi. vercxlis Tasi ornamentirebulia: misi kalTebi oTx nawiladaa dayofili, romelTa Sorisac amokawrulia TiTo Txa da wertilebiT miRebuli or-ori yurZnis mtevani. brinjaos balTa sworkuTxaa, misi CarCo spiralebiTaa Semkuli, SigniT cxenia gamosaxuli, darCenil ares ki Wviruli ornamenti avsebs. ST

selisagan damzadebuli maTara, Zv.w. III saukune LINEN FLASK, 3RD CENTURY BC

vercxlis mooqrovili disko, Zv.w. III saukune GILT SILVER DISCUS, 3RD CENTURY BC

jug was first cast and then worked up on a lathe, and the handle, which was cast separately, was welded to it afterwards. Four bowshaped laurel leaf festoons tied with ribbons are engraved on the shoulders of the vessel. There are engraved rosettes above the center part of each festoon. The festoons are connected with two stylized bull heads. The ornament was incrusted with silver. The figures on the handle of the vessel are cast together with the handle; in the

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place where the handle is attached to the rim, there is a statuette of a woman’s head that has a lion’s skin thrown on the head and shoulders. The woman probably represents the mythical queen Omphale; in order to humiliate Hercules, who was her captive, she made him wear women’s clothes, while she herself wore the skin of a lion she had killed herself. On the lower part of the handle, one can notice a Dionysian deity, his tutor Silen, with animal’s ears and other characteristic features. A bronze belt buckle and a silver bowl that were unearthed in the village of Gostibe are dated to the 3rd-2nd centuries AD. The silver bowl is ornamented: its sides are divided into four parts, with a goat and two bunches of grape incised in each of them. The bronze buckle is rectangular, and its frames are decorated by spirals. Its inner part presents the figure of a horse, and the rest is filled with an openwork ornament. The Kaspi Museum also preserves many exhibits from the Middle Ages, including ornamental details and inscriptions from churches, as well as clay pottery. Another interesting and rare item kept at the museum is a wooden chancel from a small one-nave church of village Varjaani. This five-arched chancel was composed of an architrave and six columns, from which two central and two flanking columns remain. The flanking columns are roughly cut. The many-faceted central columns are divided in four parts by three “joints” fashioned with deep grooves. An architrave made from a single piece of wood lies on the columns, and presents five semi-circular arches. The entire surface of the chancel displays a carved floral ornament. On the outer edges of the arches, the floral ornaments

dionises qandakeba, brinjao, Zv.w. III-II saukuneebi. SCULPTURE OF DIONYSUS, BRONZE, 3RD-2ND CENTURIES BC

kaspis muzeumSi daculia Suasaukuneebis mravali nivTi. maT Soris taZrebis ornamentirebuli detalebi da warwerebi, Tixis WurWeli da sxv. sofel varjaanis mcire zomis darbazuli eklesiis xis kankeli, romelic kaspis muzeumSia daculi, erTerTi saintereso da iSviaTi nimuSia. xuTTaRiani kankeli

brinjaos Wviruli balTa, II-III saukuneebi. OPENWORK BUCKLE, BRONZE, 2ND-3RD CENTURIES AD

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brinjaos sura (oinoxoia), I saukune BRONZE OENOCHOE, 1ST CENTURY AD

silenis gamosaxuleba (brinjaos oinoxoias saxeluris fragmenti) DEPICTION OF SILENUS, FRAGMENT OF THE HANDLE OF THE BRONZE OENOCHOE'S HANDLE

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gorda xmali. XVIII saukune / SWORD, 18TH CENTURY

each contain the figure of a lioness with her tail between her legs. The inner part of the central arch is plain, while the four other arches present openwork ornaments. The church is dated to the 10th-11th centuries, as for the chancel, it is probably from a slightly later period. Among the museumâ&#x20AC;&#x2122;s exhibits from the Late Middle Ages and the 19th century, the sabers, daggers, chain mail, church items, and fresco replicas particularly stand out.

xis kankeli varjaanidan, XI-XII saukuneebi WOOODEN CHANCEL FROM THE VILLAGE OF VARJAANI, 11TH-12TH CENTURIES

Sedgeboda arqitravisa da eqvsi svetisagan (amJamad Semonaxulia ori ganapira da ori centraluri sveti). ganapira svetebi uxeSadaa damuSavebuli. dawaxnagebul centralur svetebs oTx nawilad yofs Rrma RarebiT warmoqmnili sam-sami `saxsari~. svetebs eyrdnoba erTi Zelisagan gamoTlili arqitravi, romelSiac amoRebulia xuTi naxevarwriuli TaRi. kankelis mTeli zedapiri dafarulia amokveTili mcenareuli ornamentiT. aRsavlis karis SemomsazRvreli TaRis ganapira kuTxeebSi, mcenareul ornamentSi CarTulia kudamoZuebuli Zu lomis TiTo gamosaxuleba. centraluri TaRis Sida mxare sadaa, oTxi danarCeni ki Wviruli ornamentiTaa Semkuli. varjaanis eklesia X-XI saukuneebiT TariRdeba, kankeli ki, savaraudod, odnav mogviano xanisa unda iyos. gviani Suasaukuneebisa da XIX saukunis eqsponatebs Soris sayuradReboa gorda xmlebi, xanjlebi, jaWvis

jaWvis perangi. XIX saukune / CHAINMAIL ARMOR, 19TH CENTURY

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merebaSvilebis darbazi, sofeli winarexi. XIX saukune / MERABILISHVILI’S DWELLING FROM THE VILLAGE OF TSINAREKHI. 19TH CENTURY

perangi, saeklesio nivTebi, freskebis aslebi, da sxv. kaspis muzeumSi araerTi eTnografiuli eqsponatia daculi. maT Soris gamorCeulia sofel winarexidan gadmotanili merebaSvilis saxli-darbazi, romlis interieri sxvadasxva sofelSi Segrovebuli eTnografiuli masaliTaa gamdidrebuli. darbazuli nageboba aRmosavleT saqarTvelosaTvis damaxasiaTebeli xalxuri xuroTmoZRvrebis uZvelesi tipia, romlis prototipebi adrebrinjaos xanaSia warmoSobili. XIX saukunis Suaxanebis xis banur saxuraviani darbazi, gadmotanamde, warmoadgenda erTsaTavsian sivrces, SuaSi keriT, romelic ganviTarebis mogviano etapze kedelSi CaSenebulma buxarma Secvala. dabolos: kaspis mxareTmcodneobis muzeumi, ra Tqma unda, sainteresoa warmodgenili eqspoziciiT, Tumca rom ara is adamianebi, romlebic maT Tavs evlebian da ukve ramdenime aTeuli welia uSurvelad inaxaven am unikalur saganZurs, Cvengan udides madlobas imsaxureben! vaxtang SatberaSvili fotoebi: nikoloz bagrationi

A number of ethnographic exhibits are also displayed at the Kaspi Museum. Among them, one of the most noteworthy is Merebashvili’s dwelling hall, which has been brought from village Tsinarekhi, and presents an interior that is enriched with ethnographic material gathered in various villages. Hall-type structures are typical of ancient East Georgian vernacular architecture, the prototypes of which can be traced back to the Early Bronze period. Before being moved, this hall from the middle of the 19th century, which presented a flat wooden roof, consisted in a single space with a storage room and a hearth in the middle – the latter would be replaced by a fireplace built into the wall at a later stage of development. And finally, though it goes without saying that the Kaspi Museum of Local Lore is fascinating by itself and the exhibits it presents, it wouldn’t have been the same if it were not for the people who have been struggling to preserve this unique treasure for decades, and they thus deserve our great gratitude! Vakhtang Shatberashvili Photo: Nikoloz Bagrationi

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ferweridan arboriskulpturamde kako Tofuria a.w. 19 maisidan 19 ivnisamde `qarvaslaSi~, Tbilisis istoriis muzeumSi kako Tofurias namuSevrebi gamoifineba. warmodgenili iqneba bolo wlebSi safrangeTsa da saqarTveloSi tiloze, qaRaldsa da liTonze zeTis saRebavebiT Sesrulebuli namuSevrebi. mxatvars gamofenamde redaqciaSi SevxvdiT da ramdenime kiTxva davusviT...

FROM PAINTING TO ARBORISCULPTURE KAKO TOPOURIA Kako Topouria’s works will be exhibited at Tbilisi’s History Museum from the 19th of May until the 19th of June. Paintings he made in the last years in both France and Georgia on canvas, paper and metal will be presented to the public. We had the chance to meet the artist and to ask him a few questions…

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universiteti davamTavre, xelovnebaTmcodne var. drois simciris gamo axla ver vmuSaob TeoriaSi, Tumca dResac siamovnebiT vkiTxulob da Tvals vadevneb siaxleebs. bavSvobaSi, rogorc yvela, mec vxatavdi da, Tu kargad maxsovs, 16 wlidan daviwye zeTSi muSaoba. studentobisas, ramdenime megobarTan erTad, universitetis samxatvro studiaSi davdiodi, maSin am saxelosnos mamia axobaZe xelmZRvanelobda. pirveli personaluri gamofena meoTxekursels `axalgazrda mecnierTa klubSi~ mqonda. universitetis damTavrebis Semdeg Cemi specialobiT `ZeglTa dacvaSi~ vmuSaobdi da xatvisTvis cota dro mrCeboda. qarTuli adreqristianuli xelovnebiT viyavi dainteresebuli, arqiteqturiTa da reliefiT.

I graduated from the University, I am an art historian. Because I don’t have much time, I currently cannot work on theory, though I still take pleasure in reading about the latest developments in the field. In childhood, I used to draw, just like everybody, and if I remember correctly, I started working with oil when I was 16. As a student, I would go to the art studio of the University with some of my friends; the studio was run by Mamia Akhobadze at that time. My first personal exhibition was arranged when I was in my fourth year of studies, at the ‘Young Scientists’ Club’. After graduating, I worked as an art historian at the National Agency for Cultural Heritage Preservation of Georgia, and I had little time to paint. I was mostly interested in early Christian art, architecture and reliefs.

kaleidoskopi 9, zeTi, liToni, 122 X 152 sm. 2012 w. / KALEIDOSCOPE 9, OIL ON METAL, 122 X 152 CM. 2012

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gobeleni, Sali, 265 X 255 sm. 2011 w. / GOBELIN, WOOL, 265 X 255 CM. 2011

am codnam iqonia gavlena Sens mxatvrobaze? ra Tqma unda, gansakuTrebiT svanurma freskebma da adreqristianulma reliefebma. universitetSi XX saukunis dasavleTevropul xelovnebas mxatvari gogi xuciSvili gvaswavlida da garkveul informacias misgan viRebdiT. ufro meti Tu gsurda, sajaroSi an sxva wyaroebiT unda mogeZia. es xom Caketili, uinterneto dro iyo. safrangeTSi rogor moxvdi? 1990 wels, stumrad wavedi espaneTSi da ukan dabrunebisas ise moxda, rom parizSi gavCerdi. gunana niJaraZem plas de voJze mdebare Galerie Lisette Alibert-Si mimiyvana. maT Cemi Svidi namuSevari vaCvene da Svidive SeiZines. samTviani muSaobis Semdeg galeream da galeristma parizSi darCena SemomTavaza. sami Tve levilSi, vaJa kilaZis saxlSi vmuSaobdi... zamTarSi, siciveSi. amis Semdeg galeream samwliani kontraqti gamiforma, studia miqirava da iq gadavedi. amas mohyva parizSi muSaobis eqvsi weli.

Did this knowledge influence your art? Of course, especially Svanetian frescoes and early Christian reliefs. Painter Gogi Khutsishvili was teaching us 20th century Western European art at University. If you wanted to learn more, you had to go to the public library or find other sources yourself. As you know, it was a locked up, “internetless” time. How did you find yourself in France? In 1990, I went to Spain as a guest, and on my way back, it so happened that I stayed in Paris. Gunana Nijaradze brought me to the Galerie Lisette Alibert on Place des Vosges. I showed them seven of my works, and they bought all of them. After working there for three months, the gallery offered me to stay in Paris. I worked for three months in Vazha Kiladze’s home in Leuville… In the cold of winter. After that, the gallery offered me a three-year contract and rented a studio for me, in which I moved. That was the start of a six-year work period in Paris.

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zab, zeTi, tilo, 130 X 97 sm. 2013 w. / ZAB, OIL ON CANVAS, 130 X 97 CM. 2013

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mwvane TaRi, zeTi, tilo, 130 X 97 sm. 2013 w. / GREEN ARC, OIL ON CANVAS, 130 X 97 CM. 2013

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GP3, zeTi, qaRaldi, 140 X 190 sm. 2012 w. / GP3, OIL ON PAPER, 140 X 190 CM. 2012

frangul garemos iolad Seegue? gaaCnia ra mxriv... miuxedavad imisa, rom parizze raRac warmodgena mqonda, sul sxva samyaroSi aRmovCndi. muSaobac gamiiolda. mTavari iyo mqonoda kargi masala, risi fufuneba dResac ar gvaqvs saqarTveloSi. saRebavebs Tavi rom gavaneboT, milionian qalaqSi, mxolod ori durgali akeTebs normalur qveCarCos da maTTanac rigSi unda Cadge.

Was it easy to get used to France? It depends… I found myself in a completely different place than I was expecting from Paris. Fortunately, it turned out rather easy for me to work there. The most important for me was to have good materials, a luxury that we still can’t boast today in Georgia. Besides paint quality, in a city of one million, there are only two carpenters who can make good stretchers, and you need to stand in a long line to get them.

rTulia iqaur galereebSi moxvedra? 1993 wels, roca safrangeTis mxatvarTa kavSirSi gavwevriandi, mxolod parizSi, 60 000 mxatvari iyo, dRes, albaT, orjer metia; amdens cxadia parizis galereeebi ver daitevda _ maTSi yoveldRiurad uamravi artisti Sedioda SeTavazebiT; SesaZloa, mec didxans meZebna, rom ara Cemi da am konkretuli galereis Sexvedra...

Is it difficult to be exhibited in these galleries? In 1993, when I became a member of the Maison des Artistes, there were 60 000 painters in Paris alone, and today, this number has probably doubled. Naturally, Parisian galleries couldn’t fit all their artworks, and they were flooded by numerous artists submitting their works every day; I too could have been looking for a gallery for a long time, had I not come across this particular one.

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didi kavkasioni, zeTi, tilo, 200 X 300 sm. 2017 w. / GREATER CAUCASUS, OIL ON CANVAS, 200 X 300 CM. 2017

am periodSi mxolod ferweras akeTebdi? ferweras da qaRaldzec vmuSaobdi sxvadasxva teqnikiT... parizidan gadasvlis Semdeg, qandakebac daviwye, rasac didi farTi sWirdeba _ es ki parizSi didi fufunebaa. im dros safrangeTis samxreT-dasavleTSi, bordosa da limoJs Soris, viyide aTheqtariani ferma, romelic TiTqmis mTlianad saZovrebi iyo da iq TxuTmeti wlis ganmavlobaSi sakuTari xeliT samiaTas xemde davrge. axla es saZovrebi nel-nela tye-parks emsgavseba. tye-parkis garda, arboriskulpturaSic vmuSaob da Cems parkSi ukve ramdenime aTeuli geometriuli formis mravalwlovani nargavi _ muxa, wabli, ifani, rcxila, cacxvi, naZvi, fiWvi, muryani da sxva sakoleqcio jiSis xe izrdeba. arboriskulpturamde rogor mixvediT? daaxloebiT oci wlis win daviwye xeebze muSaoba; maT vaZlev minimalistur geometriul formebs, sami miznis gansaxorcieleblad: nawils parkis mudmiv binadrad davtoveb; nawils movWri da maTgan sxvadasxva formas gamoviyeneb; nawils ki did qoTnebSi vzrdi sxvebisTvis, mwvane sivrceebis mosawyobad. axla parkis maketze

Were you only doing paintings during that period? I was painting and working on paper with various techniques… After moving from Paris, I also started making sculptures, which requires a large space – too much for a Parisian rent. During that period, I bought a ten-hectare farm in the South-West of France, between Bordeaux and Limoges; it consisted almost exclusively of pastures, and I planted up to 3 000 trees myself there throughout 15 years. Now, these pastures have started to look more like a park. Apart from looking after the park, I have been busy with arborisculpture for 20 years, and today, tens of trees that I planted many years ago – oak, chestnut, ash, hornbeam, lime tree, spruce, pine, alder, and other collectible genera – grow in geometric forms in my park. How did you end up doing arborisculpture? I started working on trees about twenty years ago; I give them minimalistic geometric forms in order to achieve three goals: I will leave part of them as permanent dwellers of the park, cut others and use them as various shapes, and finally, grow some in large pots for other people’s green spaces. I am currently working on a new model, and I hope that I will finish it by Autumn of this year. I plant small trees of this or that geometric forms that I made on hills of various heights…

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kaci saTvaliT, zeTi, tilo, 65 X 54 sm. 2016 w. / MAN WITH GLASES, OIL ON CANVAS, 65 X 54 CM. 2016

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Savi generali, zeTi, tilo, 200 X 307 sm. 2017 w. / BLACK GENERAL, OIL ON CANVAS, 200 X 307 CM. 2017

vmuSaob da imedi maqvs wels Semodgomamde davamTavreb. sxvadasxva simaRlis borcvebze Cemive gamoyvanil ama Tu im geometriuli formis patara xeebs vrgav... ramdenad xangrZlivi da Sromatevadia es procesi? ramdenime wlis win gavicani, albaT, erT-erTi yvelaze cnobili frangi mxatvari pier sulaJi, romelmac xeebTan muSaobis udidesi stimuli momca. masTan stumrobisas Cemi gatacebis Sesaxeb movuyevi... maSin jer kidev vfiqrobdi, Rirda Tu ara am xangrZlivi Canafiqris gagrZeleba; man yuradRebiT momismina da XVII saukunis frangi politikosis, Jan-batist kolberis istoria momiyva. am pirovnebas safrangeTis flotis gasaZliereblad aTasobiT heqtarze muxnari gauSenebia. am ambiT pier sulaJma mec Semaguliana da isic miTxra: `Sedegi SeiZleba gvian movides, magram mTavaria is akeTo, rac mogwons da sworad migaCniao~. Cemda gasaocrad, igi rusTavels da mis `vefxistyaosansac~ icnobda, axalgazrdobaSi qarTvel taqsists damgzavrebia, romelTan saubris Semdeg qarTvelebiT da `vefxistyaosniTac~ dainteresebula.

How lengthy and demanding is this process? Several years ago, I got acquainted with Pierre Soulages, who is probably one of the most famous French sculptors, and he gave me great incentive to start working with trees. I told him about my fascination for trees when I was visiting him. At that time, I was still wondering whether it was worth to make my ideas a reality. He listened to me with utmost attention, and then told me the story of Jean-Baptiste Colbert, a French politician from the 17th century. In order to strengthen France’s fleet, he established an oak grove on thousands of hectares. With this story, Pierre Soulages roused me to action, and he also told me: “Results might be slow to come, but the most important is to do what you like and deem right”. I was also surprised to learn that he knew Rustaveli and the ‘Knight in the Panther’s Skin’ – it turned out he had once traveled in a Georgian driver’s taxi in his youth, and their conversation sparked his interest in Georgians and the ‘Knight in the Panther’s Skin’.

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2T, zeTi, tilo, 130 X 97 sm. 2011 w. / 2T, OIL ON CANVAS, 130 X 97 CM. 2011

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ori mori, wabli da muxa, 200 sm, 2011 / TWO LOGS, CHESTNUT, OAK, 200 CM. 2011

Seneul stils rodis miageni? mgoni, raRac marcvali Tavidanve mqonda, magram vTvli, rom ZiriTadad daaxloebiT 90-ianebis SuaSi Camomiyalibda.

When did you find your own style? I would say that it was there in some form from the very beginning, but I think that it mainly established itself in the middle of the 1990s.

da stili icvleba? stili yovelTvis icvleba. is vinc wlebis ganmavlobaSi mogyveba, `gicnobs~ da icis ras akeTebdi 15-20 wlis win, ra Tqma unda Sens kvals ar kargavs. CemTvis xelovani da misi gamorCeuli stili isaa, visac Sexedav da advilad icnob...

Does style change? Style always changes. Naturally, the people who are following you for years, “know” you and know what you were doing 1520 years earlier, can recognize your ways. To me, an artist has a distinctive style when you can look at his or her works and easily recognize the author…

xatvis procesi rogor midis? Tavidan ar vici ras davxatav _ mivdivar tilosTan da viwyeb ferebisa da formebis Ziebas, arc eskizs vakeTeb. ZiriTadad procesi xangrZlivia, magram zogjer SeiZleba Zalian xanmoklec aRmoCndes. portreti an mcire zomis namuSevari naxevar saaTSic ki damimTavrebia; ai, did tiloze ki didxans vmuSaob, yvela detals vakvirdebi _ vSordebi, vuaxlovdebi. SeiZleba wina dRis mowonebulma meore dRes gamakvirvos. amitom, xSirad dasrulebuli naxatis qveS SesaZloa sxva namuSevari imalebodes. dro

Can you tell us about your painting process? At first, I don’t know what I will paint – I go in front of the canvas and start looking for colors and shapes without even making sketches. The process is usually quite long, but it can sometimes be very quick. I have done some portraits or small paintings in half an hour; but I work for a long time on large canvasses, and pay attention to each detail – I look at it from far away, from a short distance… I can sometimes be negatively surprised by a work that I used to like on the previous day. Therefore, you can often find an additional work below a

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finished work’s uppermost layer of paint. I need some time to look at my painting from a detached perspective, and not with the emotion that I put in the work when painting it. I don’t want to leave something that’s not “mine” in my works.

muryani, 10 wlis / ALDER, 10 YEARS OLD

mWirdeba, rom Cemive naxats ganyenebuli TvaliT Sevxedo da ara im emociiT, romelic xatvisas Cavde, ar minda raRac `ara Cemeuli~ gameparos. ZiriTadad mastexiniT vmuSaob, funjs iSviaTad vxmarob, Tumca bolo Strixebs xSirad funjiT vakeTeb. did magidaze, romelic Cemi palitraa, veZeb `Cems~ ferebs da mere gadamaqvs tiloze, laqebidan nel-nela gamomyavs formebi.

nekerCxali, 14 wlis / MAPLE, 14 YEARS OLD

I mainly work with palette knives and rarely use brushes, except for the last strokes. I search for colors on the large table that I use as my palette; then I put them on the canvas, and gradually form shapes out of stains. muxa, 10 wlis / OAK, 10 YEARS OLD

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How was your collaboration with the Galerie Lisette Alibert? Sadly, my gallerist passed away last year, and the gallery closed… He was only working with about 15 artists, and was arranging personal exhibitions for us every two or three years. This commercial gallery had its own loyal clientele. I know that a month and a half before our exhibitions, he would always send catalogues and invitations to anyone who had bought a painting at the gallery, from wherever they may have been. And there were more than 2 000 buyers!

pier sulaJTan erTad, 2005 w. / WITH PIERRE SOULAGES, 2005

Galerie Lisette Alibert-Tan rogor TanamSromlobdi? Cemi galeristi samwuxarod SarSan gardaicvala da galereac daixura... igi mxolod TxuTmetiode artistTan muSaobda da 2-3 weliwadSi erTxel personalur gamofenas gviwyobda. am komerciul galereas Tavisi mudmivi myidveli hyavda. vici rom, `Cveni _ misi mxatvrebis~ gamofenamde TvenaxevriT adre, yvelas visac ki masTan naxati hqonda SeZenili, msoflios nebismier wertilSi, katalogsa da mosawvevs ugzavnida. aseTi ki 2000-ze meti iyo!

lilis kedeli, suro / LILI'S WALL, IVY

Did you know any art collectors beyond the gallery? It is quite comfortable for artists to work with gallerists, with whom it takes years to establish a relationship. Naturally, I also sell paintings to private collectors, but I try not to break any etiquette. Unfortunately, many things are still problematic in Georgia, and the reason is that we don’t have a stable market, and not enough collectors. We probably also need state structures to pay more attention and look after artists and their creations. Which of your personal exhibitions would you say stood out from the others? In general, any exhibition is important for the artist. I had some good exhibitions in Paris and in the region where I have my atelier, in Tbilisi, Moscow, Genoa, Atlanta, Chicago, Aspen…

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galereebis miRma gqonia urTierToba koleqcionerebTan? galereasTan urTierToba, mxatvrisTvis erTgvari komfortia. Sensa da galerists Soris urTierToba xom wlobiT yalibdeba. ra Tqma unda, naxats kerZo koleqcionerebTanac vyidi, magram vcdilob, rom urTierTobis eTika ar davarRvio. CvenSi samwuxarod bevri ram jerac mougvarebelia, mizezi ki isaa, rom aq stabiluri bazari ar aris da arc koleqcienerebis sakmarisi raodenoba. albaT, sasurvelia rom mxatvarsa da mis Semoqmedebaze, momavalze saxelmwifo institutebmac ifiqron da izrunon. personaluri gamofenebidan romels gaixsenebdi? mxatvrisTvis gamofena, zogadad, yovelTvis mniSvnelovania. ramdenime kargi gamofena mqonda parizsa da im regionSi, sadac saxelosno maqvs; TbilisSi, moskovSi, genuaSi, atlantaSi, CikagoSi, aspenSi da sxv. garda ferwerisa... safrangeTSi skulpturasac vakeTeb, instalaciebsac, aqcenti ufro vizualur instalaciaze maqvs, vidre konceptualurze. maTTvis Ria sivrces viyeneb, Cemi instalaciebi efemerulia da mxolod fotoebzea Semonaxuli. sxvaTa Soris, maTi keTeba aq ufro komfortulia, vidre safrangeTSi. CvenTan ar aris imdeni akrZalva... qandakeba? qandakebazec vmuSaob. masalad viyeneb xes, liTons, betons, papiemaSes... axlac periodulad erT did skulpturas vakeTeb, romelsac dro miaqvs da mocaleobas iTxovs. adre Seqmnili ramdenime skulptura gamomifenia kidec, magram jer im raodenobiT ar maqvs, rom calke gamovfino. dRes metwilad saqarTveloSi vcxovrob, safrangeTSi weliwadSi sam-oTxjer Cavdivar samuSaod. marTalia, bolo sami aTeuli weli evropaSi gavatare, magram me aqedan sulierad arasdros wavsulvar... da axla miuxedavd imisa, rom didi zomis namuSevrebis safrangeTidan Camotana garkveul sirTuleebTan iyo dakavSirebuli, mixaria, rom SevZleb maT TbilisSi gamofenas. esaubra Salva cxovrebaZe

And apart from painting… In France, I also make sculptures, installations – with a focus on visual installations rather than conceptual ones. I use outdoor spaces to exhibit them, but my installations are ephemeral and are only preserved on photographs. By the way, it is more comfortable to make them here than in France. There are not as many restrictions here… What about sculptures? I also work on sculptures. I use wood, metal, concrete, papiermâché... I still make large sculptures periodically, which requires a lot of time and solitude. I even exhibited some of my early sculptures, but right now, I don’t have enough of them to make a separate exhibition. Today, I live mainly in Georgia, and go to France three or four times a year in order to work. Even though I spent the three last decades in Europe, I have never left this country spiritually... And I am very glad that despite the fact that it is quite difficult to bring large-format artworks in Georgia from France, I will be able to exhibit them in Tbilisi. Interview by Shalva Tskhovrebadze

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va, sofelo... `bednieri babilovanis xelmwife Tqveni Ze dauT faSa, mravals mokiTxvas da naxvis da naxvis natvras mogiZRvniT dedav mariam!.. mermeT, Tu SeiZlebodes Cems unaxaobas nu daiSurvebT, modi, Seni naxva msurs, sxvafer fiqri nu gaqvs, rerTxansac genebebodes iyavi, roca inebebT maSinve kidev didis pativiT gagiSvebT... mermeT viTxovT Tqveni mowyale gulisagan, rom locviT nu damiviwyebT. kaci qveyanaze mova da venaxs gaaSenebs, rom nayofi miiRos. Tqven venaxi gagiSenebiaT da nayofi ar migiRiaT. viTxovT Tqveni mowyal dedobisagan, Tu SegeZlos, wamosvlas nu daizarebT, CemTvis iloceT mowyale dedao! Tqveni Ze baRdadis xelmwife daud faSa, daiwera welsa 1821, mariamobis ors~. mamluqebi mTel aRmosavleTSi aRtacebisa da SiSis momgvrelni iyvnen. maTi laSqari Cvens mosvlamde uZlevel Zalad iyo aRiarebuli... 10 000 mamluqs ar SeeSindeboda 50 000 osmalos winaaRmdeg galaSqreba... am erTi muWa rCeuli xalxiT, Tu mas rekrutebs davumatebdiT da sursaTiTac movamaragebdiT, me ar vici, ra gadamirCeboda daumarcxebel-daumxobeli~.

Alas, O world...

napoleon bonaparti

‘King of ‘Blessed Babylon’, your son Daud Pasha extends to you - my mother, Mariam my best regards and deepest yearning to see you again. If I may humbly ask you to console me with your presence and then leave again in honour and dignity as your heart may desire …Please keep me in your prayers… A man comes to this world to grow his own vine and then reap the harvest of its grapes. You grew the vine but harvested none of its yield… Please come to see me… I need the sweet balm of your presence… I need the comfort of your prayers … Your son Daud Pasha, King of Baghdad, August 1821.’ ‘Mamluks infused everyone with fear and admiration. Their troops were the mightiest and the most unvanquished until the time we arrived… 10 000 Mamluks would not flinch in the face of 50 000 Ottomans…Give me this handful of warriors plus my recruits plus food supplies and I will crush down all uneven places in the world’ Napoléon Bonaparte

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mamluqi arabuli sityvaa da niSnavs pirs, romelic vinmes ekuTvnis. mamluqebi, iSviaTi gamonaklisis garda, TeTrkaniani monebi iyvnen. TeTrkanian bavSvebs mahmadiani gamgeblebi iZendnen, wvrTnidnen da maTgan yvelaze brZolisunarian samxedro SenaerTebs ayalibebdnen. mamluqebi IX saukunis Sua wlebidan XIX saukunis dasawyisis CaTvliT axlo aRmosavleTis qveynebis istoriaSi erT-erT mTavar rols asrulebdnen. mamluqTa SenaerTebma gansakuTrebuli mniSvneloba aiubianTa saxelmwifoSi SeiZines. am dinastiis (1171-1250 ww.) fuZemdebeli saxelganTqmuli salah ad-dini, igive saladini (1171-93 ww.) iyo. es mmarTveli saTaveSi edga muslimTa brZolas jvarosnebis winaaRmdeg. sxvadasxva eTnikuri warmomavlobis mebrZolTan erTad, aiubianelTa laSqarSi mcire raodenobiT Cerqezi da qarTveli mamluqebic eria. 1250 wels, egvipteli mamluqebi, romelTa movaleoba qveynis mmarTvelTa uSiSroebis dacva iyo da rasac warmatebiT arTmevdnen kidec Tavs, Tavad aujanydnen aiubianelebs da qveynis saTaveSi movidnen. 1250-dan 1382 wlamde, egviptes, volgispireTidan da Crd. kavkasiidan, zRviT Semoyvanili, Turquli modgmis yivCaRebi ganagebdnen. maT bahreli (bahri arabulad zRvas niSnavs) mamluqebi uwodes. bahrelma mamluqebma egviptis istoriaSi udidesi roli iTamaSes _ siria-palestinidan sabolood gaaZeves jvarosnebi, bolo mouRes kilikiis somxur saxelmwifos da mZlavri, vrcel teritoriaze gadaWimuli saxelmwifo Seqmnes, romelic moicavda egviptes, siria-palestinas da mcire aziis im nawils, sadac Semdeg osmalTa saxelmwifo warmoiSva. mamluqebi aRmoCndnen erTaderTi samxedro Zala, romelTac SeZles monRolTa winsvlis SeCereba da damarcxeba. monRolebma daipyres Tvaluwvdeneli teritoriebi: CineTi, cimbiri, centraluri azia, Crd. mesopotamia, irani, TiTqmis mTeli kavkasia, ruseTi da baTo yaenma ungreTamdec miaRwia. monRolebs calkeuli brZolebi ki hqondaT wagebuli, magram mamluqebTan Sexvedramde arcerTi omi ar waegoT da yvelas SiSis zars scemdnen. XIII s-is 60-iani wlebidan 1311 wlamde mamluqebi da monRolebi gaafTrebiT ebrZodnen erTmaneTs siriapalestinisTvis. monRolTa mier dapyrobili saqarTvelos mefeebi movaleni iyvnen monRolTa mtrebis winaaRmdeg sabrZolvelad qarTuli laSqaric gaeyvanaT, amitom am brZolebSi qarTvelebic monawileobdnen... magram am omSi mamluqebma gaimarjves. 1382 wlidan 1517 wlamde egviptes Crdilo kavkasieli Cerqezebi ganagebdnen. monRolTa mier yivCaRTa teritoriis dapyrobisa da iq mahmadianobis gavrcelebis Semdeg yivCaRTa egvipteSi gayvana Sewyda. mahmadianuri wesebiT mona ar SeiZleba muslimi yofiliyo. axalgazrda monaTa, momaval mamluqTa Sevseba warmarTi da qristiani CerqezebiT daiwyes. Cerqez mamluqebs axali miwebi ar daupyriaT, piriqiT, XV s-is dasawyisSi maT Temur lengma siria da damasko auoxra.

With a few exceptions, Mamluks (Arabic word for â&#x20AC;&#x153;ownedâ&#x20AC;?) were white slaves. As children they were specifically bought by Muslim leaders to be trained as slave soldiers. From the middle of the 19th century up to the beginning the 20th century, Mamluks played a prominent role in the history of oriental countries. Mamluk troops gained in significance during the reign of the Ayyubid Dynasty (11711250BC) founded by Salah al-Din, alias Saladin (1171-93 BC), who led the Muslim war against crusaders. The increasingly multi-ethnic Ayyubid army included a small number of Circassians and Georgian Mamluks as well. In 1250 Egyptian Mamluks, whose main duty was to provide security for their rulers, which they did, and successfully enough, rebelled against the Ayyubid leaders and seized power for themselves. From 1250 to 1382 Egypt remained under the dominance of Kipchak Turks recruited from the North Caucasus and Transvolga region. They were known as Bahri Mamluks (Bahr translates as the sea). The Bahri Mamluks left an indelible mark in Egyptian history: they drove away crusaders from Syria and Palestine, crushed to earth the Armenian Kingdom of Kilikia and laid the groundwork for

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a sprawling empire incorporating Egypt, Syria, Palestine and a small part of Asia Minor. This territory later became part of the Ottoman Empire. The Mamluks proved to be the only military force capable of stopping the Mongol advance and actually defeating them. Mongols had taken hold of vast territories: China, Siberia, Central Asia, Northern Mesopotamia, Iran, nearly the whole of the Caucasus and Russia. Batu Khan even reached Hungary. Mongols sent shudders of fear through everyone for they had never reaped the bitter fruits of defeatâ&#x20AC;Ś until the appearance of the Mamluks. From the 1260s up to 1311 Mamluks and Mongols were engaged in a fierce war for Syria and Palestine. The Kings of Georgia then suffering under the Mongol yoke had to throw troops to the battlefield against Mamluksâ&#x20AC;Ś but the Mamluks won. From 1382 up to 1517 Egypt was ruled by Circassians of the North Caucasus. The Mongol conquest of the Kipchak territory and the spread of Islam there stemmed the flow of Kipchaks to Egypt. According to Islamic teachings, slaves were banned from professing the Muslim faith. Therefore, Mamluk ranks were filled by heathens and Christian Circassians. The Circassian Mamluks failed to annex any new territory. Quite the contrary,

1453 wels osmalebma konstantinopoli aiRes. Cerqez mamluqTa saxelmwifos safrTxe daemuqra, rac male realobad iqca. 1517 wels `faraonTa qveyana~ portam daipyro. Semdeg egviptis mmarTvel faSasac stamboli niSnavda. yivCaR da Cerqez mamluqTa mmarTvelobisas mcire raodenobiT qarTveli mamluqebic iyvnen, magram sulTani arc erTi maTgani ar gamxdara, yvelaze maRali posti, romelic qarTvelebs epyraT, amiras Tanamdeboba iyo. XVI s-mde saqarTvelo mosaxleobas icavda da tyveTa vaWrobas ar uSvebda. magram dausrulebeli brZolebiT dasustebuli qveyana samefo samTavroebad daiSala, rasac XVI s-Si osmaleTis mier istoriuli mesxeTis dapyroba da misi axalcixis safaSod qceva mohyva. osmalebma Savi zRvis sruteebi Caketes, saqarTvelo, faqtobrivad, gare samyaros mowyvites... usaxsrod darCenilma qarTveli feodalebis nawilma Tavisi yma-glexebiT vaWroba daiwyes. es awyobda osmaleTsac. axalgazrdebs, saqarTvelos sxvadasxva kuTxidan qarTveli da leki yaCaRebic itacebdnen da gahyavdaT osmaleTis tyveTa bazrebze. SavizRvispireTSi monebiT vaWroba sarfian saqmed iqca. Tavdapirvelad tyveebi Crd. kavkasiidan yirimSi da, iqidan zRviT,

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stambolSi gadahyavdaT. axalcixis safaSos Seqmnis Semdeg ki es kuTxec iqca qarTvel monaTa mniSvnelovan satranzito punqtad. saqarTvelodan gayvanili axalgazrdebis raodenoba am droidan mkveTrad izrdeba. XVI s-is miwurulis evropeli avtorebi weren, rom egviptis mamluqTa Soris arian qarTvelebic. XVII s-is evropel avtorTa da sxvaTa cnobebiT im dros saqarTvelodan yovelwliurad samidan xuTi aTasamde tyve gahyavdaT. Tu `mcire~ ricxvs, sami aTass aviRebT, gamodis rom saukuneSi samSoblos samas aTas axalgazrdas stacebdnen. XVI, XVII, XVIII s-ebisa da XIX s-is pirveli naxevris CaTvliT saqarTvelodan sul cota erTi milioni 13-14 wlis janmagari vaJi da lamazi gogona gaiyvanes. aqve unda gavixsenoT iranic, sadac mravlad iyo rogorc gadasaxlebuli (fereidani), ise sparseTis jarSi ZaliT Tu nebiT moxvedrili qarTveli.

Mamluk-held Syria and Damascus were razed to the ground by Tamerlane in the 15th century. In 1453 the Ottomans invaded Constantinople. The empire of the Circassian Mamluks was forced to confront a real threat. The country of pharaohs was conquered by Porta in 1517. Henceforth, decisions on the appointment of Egyptian rulers were made in Istanbul. None of the small number of Georgian Mamluks, who formed the upper class along with Circassian and Kipchak Mamluks, ever became a Sultan. Emir was the highest title of nobility accorded to Georgian Mamluks. Until the 16th century Georgian rulers had banned the trade in slaves. However, the country utterly demoralized by endless fights fractured into small principalities, which led to Meskhetiâ&#x20AC;&#x2122;s invasion by Ottomans in the 16th century and its conversion into Akhaltsikheâ&#x20AC;&#x2122;s Phashaluk. Ottomans blocked off the Black Sea straits, thus tearing Georgia away from the outer world. A number of feudal lords were left destitute. They had to

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osmaleTis, rogorc centraluri, ise provinciuli elita yidulobda qarTvel ymawvilebs, aswavlida maT cxenze jdomas, jiriTs, civi da cxelmsroleli iaraRis xmarebas da zrdidnen profesional samxedroebad. am dros gavrcelda axlo aRmosavleTSi lamazi biWis saxelad qurji-gurji, xolo qalisad _ qurjia. egviptesa da siriaSi qalis sakuTar saxelad dResac gvxvdeba qurjia. XVIII s-is meore naxevridan qarTvelebis raodenoba osmaleTis imperiaSi matulobs. es kargad Cans amave saukunis miwurulis, rogorc Turqi mogzauris evlia Celebis naSromidan, ise osmaluri sagadasaxado reestrebidanac. XVII s-is osmaleTSi dadasturebulia eTnikuri solidarobis fenomeni. sxvadasxva qveynidan moxvedrili tyveebi erTmaneTisadmi garkveul solidarobas iCendnen, rac gamoixateboda sxva eTnikuri jgufebis winaaRmdeg Zalauflebisa da gavlenisaTvis brZolisas urTierT mxardaWerasa da kavSirSi. erTi warmomavlobis `osmalo~ moxeleebi da haramxanaSi moxvedrili qalebi, romelTac aerTianebdaT saerTo kultura, ena, faseulobebi gverdSi edgnen erTmaneTs. XVII-XVIII s-ebis osmaleTSi naTlad ikveTeba `dasavlelTa~ (balkaneTisa da aRm. evropis) da `aRmosavlelTa~ (Cerqezebi, afxazebi, qarTvelebi) eTnikuri dajgufebebi. solidaroba SeimCneoda rogorc centrSi, aseve regionebSic. XVIII s-is damdegs vxedavT qarTvel amirebsa da begebs, anu beiebs. egviptis politikur asparezze maT Soris yvelaze warmatebuli muhamed beg katamiSi iyo, romelsac manamde arnaxuli Zalaufleba hqonda. katamiSi iyo pirveli qarTveli mamluqi, romelmac sakuTari saxli Seqmna. aseTi saxlebi mxolod Zalze cnobil pirebs hqondaT. solidarobis principidan gamomdinare aseTi saxlebi iqmneboda ara naTesauri, aramed patronisadmi kuTvnilebis niSniT. patronebi yidulobdnen ymawvilebs da SvilebiviT zrdidnen. biWebic ZmebiviT izrdebodnen, Tumca Semdeg maT Soris orgulobac xdeboda. mohamed katamiSi SeTqmulebma 1736 w-s mokles. egviptis momdevno mmarTveli kazdaRlis saxlis warmomadgeneli ibrahim qaTxuda iyo. Semdeg qveyanas ibrahim da ridvan qaTxudebis duumvirati ganagebda. ibrahim qaTxudasa da sxva qarTuli warmomavlobis mamluqTa Sesaxeb cnobebs gvawvdis cnobili levanteli mogzauri saviura luziniani wignSi â&#x20AC;&#x2DC;osmaleTis portas winaaRmdeg ali-beis ajanyebis istoria~. es naSromi, al beg al-qabirs eZRvneba da 1783-84 ww-Si orjer gamoica londonSi, 1784 da 1789 ww-Si berlinsa da peterburgSi, xolo 1973 w-s TbilisSi. luzinianma mniSvnelovani da zogjer unikaluri cnobebi Semogvinaxa mamluqi begebis qarTuli warmomavlobis Sesaxeb, Tumca dasavleli mkvlevarebi mis cnobebs naklebad endobian. jein hasaveim, amerikelma mamluqologma vrceli naSromi miuZRvna qaTxudasa da kazdaRlis saxls, sadac ibrahims

resort to trading in serfs, which played into the hands of Ottomans too. Children from various parts of Georgia were taken prisoner by Georgian and Lezghin abductors and taken to the Ottoman slave markets. The slave trade became a highly lucrative business in the Black Sea region. Initially the only route by which prisoners were carried from the North Caucasus to Istanbul was via the Crimea. With the emergence of Akhaltsikheâ&#x20AC;&#x2122;s Phashaluk, however, this province became another important transit stop for Georgian slaves. By this time the number of young people kidnapped from Georgia had increased considerably. 16th century European sources make mention of Georgian Mamluks among Egyptians. The 17th century records of European historians say that the approximate number of prisoners annually kidnapped from Georgia range from three to five thousand. This means that, if credit is given to the smaller number, Georgia had to bid farewell to three thousand sons and daughters every year. During the period spanning the 16th to 18th centuries and the first half of the 19th century, Georgia lost at least one million youths aged 13-14, including Georgians either exiled to Iran (Fereidan) or enlisted forcefully into the Persian army.

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jer qarTvelad, bolos ki osmalod moixseniebs. prof. goCa jafariZem da amerikelma orientalistma kreseliusma mniSvnelovani wvlili Seitanes, rogorc luzinianis wignis, aseve qarTveli mamluqebis Sesaxeb swori Sexedulebebis Camoyalibebisa da popularizebis saqmeSi. ibrahim qaTxudam gza gauxsna qarTuli warmomavlobis mamluqebs egviptis mmarTvel elitaSi. is 1754 w. gardaicvala da mis Semdeg egviptes ganagebdnen kazdaRlis saxlis mamluqebi an am mamluqTa mamluqebi. maT Soris yvelaze mniSvnelovani ali beg al-qabiri (176872 ww.) iyo, romelic aujanyda osmaleTis portas, raTa egvipte damoukidebel saxelmwifod eqcia. man osmalo faSa gaaZeva egviptidan da osmaluri garnizonis Zala mniSvnelovnad Seamcira. ali beg al-qabiri afxazeTidan iyo. danieli mogzauri karsten niburi wers, rom misi mama, saxelad daviTi, mRvdeli iyo saqarTvelodano. udaoa, rom XVIII s-is afxazeTi qarTuli kulturuli da religiuri arealis ganuyofeli nawilia da iqauri mRvdeli romc ar yofiliyo eTnikurad qarTveli,

Elite Ottomans, whether in the centre or on the periphery of the empire, trained Mamluks in the techniques of horse riding, the use of gunpowder and cold weaponry. A male name that emerged at that time - Kurgi-Gurgi - was a descriptive word for a handsome boy. The female equivalent was Kurgia, a name that is still given to many girls in Egypt and Syria. Writings of the Turkish traveller Evlia Chelebi and Ottoman tax registers give evidence of a considerable rise in the number of Georgians from the second half of the 18th century. In the 17th century Mamluks developed a sense of ethnic solidarity, which made them feel obliged to act in unity against other groups in the fight for power or influence. Mamluk warriors and harem girls with the same ancestral background and the same set of values and cultural traditions gave one another a groundswell of support and assistance. In the Ottoman empire of the 17th and 18th centuries there emerged a distinct dividing line between western (the Balkans and Eastern Europe) and eastern (Circassians, Abkhaz, Georgians) ethnic groups. Solidarity was broadly in evidence both in the centre and at the outposts of the empire. Mohammed Bey Katamish was the most successful of all Georgian Emirs and Begs or Beys who appeared in Egypt’s political arena in the 18th century. He was the first Georgian Mamluk to set up his own household. Such households were owned only by highpowered personalities. Members of the house were united by a sense of dependence on one patron, rather than feelings of kinship. Patrons bought slave children to raise them as their own sons. Such children treated one another as blood brothers. However, there were monstrous cases of betrayal among them. Mohammed Katamish was killed by assassins in 1736. Next in the line of successors to Egypt’s throne was Ibrahim Kathuda from the Qazdagli household, who gave rise to the duumvirate of Ibrahim and Ridwan Kathudas. Some information about Ibrahim Kathuda and other Mamluks of Georgian origin can be gleaned from ‘The History of Ali Bey’s Revolt’ by the famous traveler Sauveur Lusignan. This book, which highlights Ali Bey Al-Kabir’s life-story, was published twice in London (1783-84), in Berlin (1784), in St Petersburg (1789) and in Tbilisi (1973). Lusignan provides important and even unique insights into the Georgian origin of Mamluk Beys. However, western researchers are increasingly wary of his findings. Jane Hathaway, a famous American Egyptologist, wrote an extensive research paper on the Qazdagli household identifying Ibrahim first as a Georgian and later as an Ottoman. The Georgian Professor Gocha Japaridze and the American Orientalist Crecelius did their utmost to paint a true picture and boost the image of Georgian Mamluks. Georgian Mamluks followed Kathuda’s lead into Egypt’s ruling elite. Kathuda died in 1754 and henceforward Egypt came under the control of Mamluks from the Qazdagli household. Ali Bey Al-Kabir (1768-72) was the most influential of these Mamluks. He revolted against Ottoman Porta to set Egypt on a course of independence. He expelled the Pasha from Egypt and scaled down the strength of the Ottoman garrison. Ali Bey Al-Kabir

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qarTuli marTlmadidebluri eklesiis msaxuri iqneboda, ecodineboda qarTuli wera-kiTxva da qarTulad aRasrulebda wirva-locvas. ali begs garemocvac qarTuli hyavda, rva msaxurTagan xuTi da Tvrameti begidan cxra qarTveli iyo. ali beg al-qabiris ajanyeba osmalTa winaaRmdeg marcxiT damTavrda, is 1773 w-is 8 maiss daiRupa. mas misive gazrdili siZe muhamed beg abu zahabi daupirispirda. luzinianis cnobiT abu zahabic afxazeTidan iyo da mis garemocvaSic qarTvelebi sWarbobdnen. ori mTavari begi, romlebic muhamed begma mamluqebad aRzarda da begebis rangSi aiyvana iyvnen murad begi Tbilisidan da martyofeli ibrahim begi, gvarad SinjikaSvili. 1775-1798 w-mde egviptes murad begi, ibrahim begi da, kidev erTi qarTuli warmomavlobis, ismail beg alqabiri ganagebdnen. 1786 w-s osmalTa winaaRmdeg dawyebul ajanyebas martyofeli ibrahim begi xelmZRvanelobda. misi 18 begidan 12 qarTveli iyo. maT mowinaaRmdege proosmalur partias saTaveSi ismail beg al-qabiri edga, aseve Tavis momxre qarTvel mamluqebTan erTad. qarTvel mamluqTa dapirispirebis mizezi Zalaufleba da fuli iyo. ajanyebulTa winaaRmdeg stambolidan damsjeli eqspedicia gaigzavna kapudan faSa (osmalTa flotis umaRlesi mTavarsardali, admirali) Razi hasan jazairlis meTaurobiT. jazairli alJirels niSnavs. Razi hasani bavSvobaSi duSeTis maxloblad, sof. fSavlidan gautaciaT, alJirSi gaizarda, mezRvauri gaxda, dawinaurda samxedro samsaxurSi da, bolos, TurqeTis flots Caudga saTaveSi. is osmaleTSi uaRresad gavleniani moxele iyo da egvipteSi gamgzavrebamde didvezirad axlobeli qarTveli iusuf koja daniSna (am qarTvelis da haramxanaSi sulTanis erTerTi coli gaxldaT), misi axlad gamahmadianebuli Zma ki eqspediciaSi xazinadarad iaxla. egviptis bedi osmaleTisa da egviptis qarTuli elitis dapirispirebaSi wydeboda. ajanyebuli mamluqebi damarcxdnen da zemo egvipteSi gaiqcnen. kapudan faSam Zalaufleba qarTvel ismail beg al-qabirs gadasca, xolo egviptis faSad Tunisidan gamoqceuli qarTveli mamluqi ismail qaTxuda daniSna. 1798 w-s egvipteSi napoleonma jari gadasxa. mas egviptidan indoeTSi xmeleTiT galaSqreba da britanelTaTvis misi warTmeva surda. brZolis gaadvilebis mizniT imperatorma manifesti gaavrcela, romelSic mamluqebs mtarvalebad, moZaladeebad, usamarTloebad, gadamTiel dampyrobleblad moixseniebda. magram am nabijma ar gaamarTla, egviptelebi mamluqebs Tavisianebad Tvlidnen da did pativs scemdnen. mamluqebi yvela drois erT-erTi uniWieresi sardlisa da im droisTvis yvelaze organizebul, kargad SeiaraRebul, disciplinirebul armiasTan omSi damarcxdnen, maTi didi nawili brZolis velze daeca, magram napoleonis aRtaceba daimsaxures.

was from Abkhazia. The Danish traveller Carsten Niebuhr refers to his father as a Georgian priest named Davit. Abkhazia in the 18th century was an integral part of Georgia’s cultural and religious texture. This meant that a priest, whatever his ethnic origin, would be a member of the Georgian Orthodox Church officiating divine service in the Georgian language. Ali Bey’s circle was predominantly Georgian: five out of eight serfs and nine out of eighteen Beys were ethnic Georgians. Ali Bey Al-Kabir’s rebellion against the Ottomans ended in failure. He was killed on 8 May 1773. Mohammed Bey Abu Zahab who rebelled against him was his own son-in-law. According to Lusignan, Abu Zahab was also from Abkhazia and his cohorts were mainly Georgians. Murad Beg, a former Mamluk, was from Tbilisi and Ibrahim Beg (the Georgian name Sinjikashvili) from Martkopi. In 1775-1798 Egypt was ruled by Murad and Ibrahim Begs and Ismail Bey al-Kabir of Georgian extraction. The revolt against the Ottomans that broke out in 1786 was masterminded by Ibrahim Beg. Of 18 of his protagonists (all Begs), 12 were Georgians. The pro-Ottoman

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ibrahim begi siriaSi gaiqca da iqidan agrZelebda brZolas. murad begi zemo egvipteSi gadaixvewa, iqidan awarmoebda molaparakebebs napoleonTan, Tumca male Savma Wirma imsxverpla. mamluqTa saomari xelovnebiTa da simamaciT gaocebul-aRfrTovanebulma bonapartem korpusi Seqmna, romelSic mxolod egvipteSi myofi mamluqebi Caricxa. am korpusSi gadarCenili 12 qarTvelic eria. erT-erTi maTgani, Saini SemdgomSi austerlicis brZolis gmiri da sapatio legionis ordenis erT-erTi pirveli kavaleri gaxda. meore Tbiliseli somexi mamluqi rustami, imperatoris piradi mcveli gaxda, Tumca patrons gadasaxlebaSi aRar gahyolia. ori qarTveli frangebis ruseTis kompaniaSic monawileobda... napoleonis winaaRmdeg brZolebSi gadarCenil qarTvel mamluqebs bolo albanuri warmomavlobis mamluqma muhamed alim mouRo. XIX s-is dasawyisSi is osmaleTis portam egviptis faSad daniSna. muhamed ali Zalian niWieri, Wkviani da eSmaki pirovneba iyo. 1811

antagonist forces under the command of Ismail Bey Al-Kabir included a group of Georgian Mamluks as well. The reasons as to why Georgian Mamluks were caught up in confrontation were power and money. A punitive expedition sent to put down the revolt was led by Ghazi Hassan Al Jazarl (Commander-in-Chief and admiral of the Ottoman fleet). Al Jazarl means Algerian. As a child Ghazi Hassan was kidnapped from the village of Pshavli and raised in Algeria. As he advanced in years he became a sailor, quickly climbed the ladder of a military career and took over at the helm of the Turkish fleet. Ghazi Hassan wielded tremendous power in the Ottoman Empire. Before his departure to Egypt he appointed his kinsman - Iusuf Khoja (whose sister was one of the Sultanâ&#x20AC;&#x2122;s wives in the harem) - as Grand Vizier and entrusted his brother - a new convert to Islam - with the important job of treasurer. Egypt seemed to be caught in the crossfire between the two Georgian elite groups of the Ottoman Empire and Egypt. The Mamluk revolt was suppressed in blood and they had to flee to Upper Egypt. Capudan Pasha transferred power to Ismail Bey Al-Kabir. The Georgian Mamluk Ismail Kathuda took up the mantle of Egyptian Pasha.

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wlis martSi faSam sasaxleSi miipatiJa da RalatiT daaxocvina qarTveli mamluqebi. maT Soris murad beg SinjikaSvilis vaJic iyo, erTaderTi, romlis cxedaric qarTvelma dedam gamosTxova muhamed alis da yvela wesis dacviT dakrZala. danarCeni mamluqebis gvamebi sadRac ormoSi erTad Cayares. ibrahim begi, 200 Tu 300 mamluqiT, sudanSi gadaixvewa, sadac uzarmazari olqi daipyro da Tavis meomrebTan erTad dasaxlda. am faqtma muhamed ali faSa ise SeaSfoTa, rom iq saswrafod gaagzavna didZali samxedro Zala da mamluqebi sabolood gaanadgura. ibrahim begi 1815 wels gardaicvala, erTi wlis mere kairoSi gadaasvenes da iq dakrZales. muhamed alis egvipteSi dResac did pativs miageben, is egviptis saxelmwifoebriobis safuZvlis Camyrelad miaCniaT. amerikeli orientalisti kreseliusi aRniSnavs, rom man is tradiciebi gaagrZela, romelsac safuZveli ali begma da muhamed beg abu zahabma Cauyares. rac ver SeZles qarTvelma mamluqebma, is ganaxorciela muhamed ali faSam. qarTvelma mamluqebma egvipteSi osmalTa batonoba Searyies da erTaderT samxedro Zalas warmoadgendnen, romelic egviptis osmaleTis imperiidan gamosasvlelad ibrZoda. ra damokidebuleba hqondaT qarTvel mamluqebs saqarTvelosTan? isini xom sruliad patarebi gaitaces samSoblodan da saqarTvelo mas Semdeg ar enaxaT. XVIII s-is frangi mogzauri volnei werda, rom mamluqebs ar gaaCniaT is grZnobebi, romelic Cveulebriv adamianebs aqvT, anu maT arc deda unaxavT, arc _ mama da arc religiurebi arian. sinamdvileSi irkveva, rom dedmamas, da-Zmebs da naTesavebsac ki TavisTan ibarebdnen da dasaCuqrebulebs uSvebdnen saxlSi. qarTveli mamluqebi, xSirad, egvipteSi moxvedril qarTvel tyveebs yidulobdnen da saqarTveloSi abrunebdnen. suleiman aRa anafi, ibrahim beg SinjikaSvilis mamidaSvili, gvarad knotiSvili wers _ Cven rom ar viyoT, ra eSvelebodaT aq moxvedril qarTvelebso. ibrahim beg SinjikaSvilis gamogzavnili fuliT aSenebuli koSki dResac dgas martyofSi. manve gamogzavna eklesiis asaSenebeli fulic. XVIII s-is 90-ian wlebSi kairos sapolicio samsaxuris ufrosi selim aRa, martyofeli ZananaSvili, romelmac Tavis siZes lazares sxvebisTvis gadasacemad fuli da saCuqrebi gamoatana da man ki yvelaferi miiTvisa, emuqreba, Tu am yvelafers adresatebs ar daubruneb, maSin erekle II-sa da batoniSvilebs mivwer da ara Tu Cemsas, Sen sakuTarsac dagakargvinebo. am faqtidan naTlad Cans egvipteli mamluqebis kargi urTierToba qarTlkaxeTis mefesTan. selim aRam, romelic egvipteSi mesame kaci iyo, saqarTveloSi mamuli SeiZina da dabrunebasac ki fiqrobda. zemoTqmulidan gamomdinare, volneis damokidebuleba qarTveli mamluqebis mimarT, rbilad rom vTqvaT, gaugebaria.

In 1798 Napoleon sent troops to Egypt. He planned to take India by storm and seize it from Britain. To make the goal easily achievable, Napoleon issued a manifesto describing Mamluks as cold-hearted murderers and monstrous invaders. However, the manifesto did not work because Egyptians thought of Mamluks as their people and held them in respect. The Mamluks lost the battle with the ultimate commander of all time and his highly-disciplined and superbly equipped army. The Mamluks, of whom many fell on the battlefield, earned Napoleon’s unreserved admiration. Ibrahim Beg fled to Syria carrying the center of battle there. Murad Beg, who took shelter in Upper Egypt and launched talks with Napoleon, soon died of the plague. Napoleon Bonaparte, who was taken aback by the Mamluks’ consummate military skill and undeniable bravery, formed a special regiment and incorporated in it Mamluks exclusively from Egypt. The regiment included 12 Georgians as well. One of them, Shain, became a hero of the Battle of Austerlitz and Cavalier of the French Royal Order of the Legion of Honour. Another Mamluk from Tbilisi, Rustam, who was of Armenian origin, became the Emperor’s personal guard though he did not accompany

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egviptel da erayel mamluqTa Sesaxeb, saqarTveloSi da sxvaganac, mravali naSromia gamoqveynebuli, magram Tunisel, libiel da alJirel qarTvel mamluqTa Sesaxeb aqamde araferi iyo cnobili. axlaxan, burkes wignSi `msoflio samefo ojaxebi~ aRmoCnda, rom Tunisis samefo ojaxis CamonaTvalSi ori qarTvelicaa moxseniebuli. es qarTvelebi erT-erTi Tuniseli faSas siZeebi, anu samefo ojaxis wevrebi arian. TunisSi, sxva qveynebisgan gansxvavebiT, sul 200-300 mamluqia. es qveyana XVI s-dan osmaleTis imperiis erT-erTi provinciaa da mas, 1702 w-dan 1957 w-mde, huseinianTa dinastiis (romelTac sulTanisgan faSas titulic hqondaT miniWebuli) warmomadgenlebi marTavdnen. erT-erTma huseinianma, abu muhammad hammuda beim (1782-1814 ww.), axalgazrdobaSive SeiZina mamluqebi. maTi daxmarebiT 1811 w-is Turq ieniCarTa amboxis CaxSoba da taxtze asvla SeZlo. axalma mmarTvelma ministrebad da mniSvnelovan saxelmwifo moxeleebad erTguli mamluqebi daniSna. Tumca mamluqebi Tunisis saxelmwifi asparezze bevrad adre, ukve XVIII s-is pirvel mesamedSi, gamoCndnen. qarTveli mxevali mahbuba Tunisis mmarTvelis _ ali ibn husainis (17591782 ww.) meuRle iyo. maTi ori vaJi, abu muhammad hammuda da usmani, SemdgomSi Tunisis mmarTvelebi gaxdnen. Tuniselebi mamluqebs, egviptelebisgan gansxvavebiT,

Napoleon into exile. The two Georgians took part in the French invasion of Russia… Georgian Mamluks having distinguished themselves in fierce fights against Napoleon were once and for all vanquished by Mamluk Muhammad Ali of Albanian origin. In the early 19th century he was installed as Pasha of Egypt. Muhammad Ali was very clever, cool and cunning. In 1811 he invited Georgian Mamluks to a feast but ambushed and massacred them in what can be described as a monstrous betrayal. One of the slaughtered Mamluks was the son of Murad Beg Shinjikashvili, whose dead body was retrieved by his Georgian mother and given the last rites. The bodies of other Mamluks were thrown together into a pit. Ibrahim Beg in company with 200 or 300 Mamluks fled to Sudan, conquered a vast region and struck down roots there. Alarmed by this military expansion, Muhammad Ali Pasha unleashed his troops in pursuit of Ibrahim Beg and destroyed his Mamluks indiscriminately. Ibrahim Beg died in 1815. A year later his body was moved to Cairo and buried there. Muhammad Ali is still held in high esteem in Egypt. He is generally thought of as the founder of Egyptian statehood. An American expert of oriental studies, Crecelius, contends that he maintained the traditions established by his predecessors Ali Beg and Muhammad Beg Abu Zahaba. Muhammad Ali Pasha accomplished the goal, which the Georgian Mamluks let fall by the wayside. However, Georgian Mamluks were the only force to shake the Ottoman reign in Egypt and were deeply committed to achieving Egypt’s secession from the Ottoman Empire. Was there any tie that linked Georgian Mamluks with the country of their origin? Kidnapped as children they finally lost all ties with Georgia. The French traveller Volney contends that Mamluks had no sense of fellow feeling or kinship, nor religious beliefs and values. It turns out however that Mamluks were genuinely devoted to their parents, siblings and even relatives and often lavished them with gifts. They even paid ransom for the release of Georgian captives and returned them back to Georgia. According to Suleiman Agha Anaph (Georgian surname – Knotishvili, nephew of Ibrahim Beg Shinjikashvili), Georgians in Egypt would have hardly managed without the help of Mamluks. Ibrahim Beg Shinjikashvili contributed to the expense of building a church and a tower in Georgia. The latter still graces Martkopi. In the 1890s Cairo police chief Selim Agha (Georgian surname Dzananashvili) sent his sister-in-law Lazare to deliver money and gifts to his kith and kin in Georgia. The parcel however did not reach its destination for Lazare quickly made off with the entrusted property. Selim Agha threatened to write to King Erekle II and deprive Lazare of all of life’s comforts. This fact clearly points to the Egyptian Mamluks’ harmonious relationship with the King of Kartl-Kakheti. Selim Agha, who was Egypt’s third most influential man, bought a plot of land in Georgia and even thought of settling down there. Hence, Volney’s allegations concerning Georgian Mamluks is, to put it mildly, wholly unfounded.

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ZiriTadad, samxedro-administraciul aparatSi iyenebdnen da axalgazrda TeTrkanian monebs bavSvobidanve mmarTveli klasis wevrebad amzadebdnen. Tunisis beis kuTvnil mamluqebs, bardos sasaxleSi, ufliswulebTan erTad, saukeTeso maswavleblebi aswavlidnen da Sedegad, am qveynis saxelmwifo struqturaSi, beis Semdeg yovelTvis mamluqi idga. britaneli mogzauri mak gili, 1807 wels, wers, rom hammuda beis uSualo garemocva da qveynis mmarTveli wre, ZiriTadad, qarTveli mamluqebisgan Sedgeboda. aseve sagulisxmoa alJirSi moxvedrili qarTvelebis bedic. 1517 wels alJiri osmaleTis imperiis SemadgenlobaSi xvdeba, Tumca sxva Crd. afrikul safaSoTa msgavsad sulTans nominalurad eqvemdebareba. alJiri xmelTaSua zRvis mekobreobis centri iyo da qveyanas Semosavali, ZiriTadad, am saqmianobidan Sesdioda. aqauri mekobreebi xmelTaSua zRvaSi da atlantikis okeaneSi daTareSobdnen. maTi msxverpli evropuli da amerikuli savaWro gemebi iyo. flotis xelSeuxeblobis pirobiT, evropis saxelmwifoebi da aSS yovelwliur xarks uxdidnen alJirs. 1800 w-is aSS-s saerTo Semosavlis 20% alJirelTagan amerikel tyveTa gamosyidvasa da yovelwliur xarks xmardeba. osmaleTis flotis zemoT xsenebulma admiralma, kapudan faSa hasan jazairlim ara erTi alJireli

Stories about Egyptian and Iraqi Mamluks abound both in Georgia and elsewhere. However, information on Georgian Mamluks from Tunisia, Libya and Algeria has until now remained almost entirely obscure. Burke’s ‘Royal Families of the World’ makes mention of two Georgians in an overview of Tunisian Royal families. These two Georgians were sons-in-law of one of the Tunisian Pashas. Only a moderate number of 200-300 Mamluks are known to have lived in Tunisia, compared to other countries. In the 16th century Tunisia became one of the Ottoman Empire’s provinces ruled by the Husainid Dynasty (1705-1957) of Beys granted an honorary title of Pasha by Sultans. One of such Pashas - Abu Muhammad Hammuda Bey (17821814) bought Mamluks in his early years and enlisted their help to put down the Turkish Janissaries’ Revolt in 1811 shortly followed by his accession to the throne. The new ruler appointed his most unflinchingly loyal Mamluks as Ministers and high-ranking officials. Mamluks appeared on the political scene of Tunisia much earlier, already in the first half of the 18th century. A Georgian woman Mahbuba was the wife of the Tunisian ruler Husain ibn Ali (1759-1782). Their two sons, Abu Muhammad Hammuda and Usman, later became Tunisian rulers as well. Tunisian Mamluks, unlike their Egyptian counterparts, were generally vested with significant military and administrative powers. White-skinned slaves were trained to reach the upper rungs of the political ladder. Mamluks raised alongside heirs to the throne were the next most powerful in the Empire’s state-building.

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zRvaosani, maT Soris qarTvelebic, gaiwvia ruseTTurqeTis omSi. hasan kapudan faSas ukavSirdeba alJirSi moxvedrili qarTveli Zmebis _ ali faSa al tarabulusisa da said ali al kapudanis portaSi dawinaureba. ali al tarabulusi jer alJiris sazRvao ministri iyo, Semdeg ZmasTan erTad stambolSia da rusebs ebrZvis. 1791 wels ali ruseTis winaaRmdeg brZolebSi mewinave xomaldis kapitania, xolo Semdeg _ anatoliis faSa. 1803 wels ZmasTan, said alisTan erTad egvipteSia. cnobili egvipteli istorikosi al jabarTi gvauwyebs, rom 1807 wels said ali faSa kapudani, rogorc osmaleTis flotis admirali, xelmZRvanelobs gadamwyvet brZolas kunZul lemnosTan, roca ruseTis flotma ukan daixia da stambols blokada moxsna. 1820-21 ww-Si igi osmaleTis didveziria. said alis Zmas _ ali tarabuluss sulTanma tripolis faSoba uboZa. amis gamo Seerqva mas tarabulusi, anu tripoleli. am qalaqidan is, 1795 wels, Tunisis beis jarma gaaqcia, romelsac qarTveli mamluqi mustafa xoja sardlobda. orma qarTvelma, alJiris mmarTvelis _ deis Tanamdebobasac miaRwia. pirvels _ baba hasan deis (1791-

The British traveler Mac Gill wrote in 1807 that Hammuda Bey’s immediate milieu and the ruling classes of the country were made up largely of Georgian Mamluks. Also of interest is the fate of Georgian Mamluks in Algeria. In 1517 Algeria became part of the Ottoman Empire but the Sultan’s influence over it, like over other North African Pashates, was only nominal. Algeria, a stronghold of Mediterranean piracy, relied largely on pirates for income. Pirates roamed the Mediterranean Sea and the Atlantic Ocean assailing American and European merchant vessels. America and European States were thus forced to pay an annual tribute to Algeria on condition that their ships were left unharmed. In 1800 over 20 percent of income went towards ransoming American captives or paying tribute money. When the Russo-Turkish war broke out, Kapudan Pasha Hasan Jizairli, admiral of the Ottoman fleet drafted a great number of sailors from Algeria, including Georgians, into the Turkish army. The career success of Georgian brothers Ali Pasha Al Tarabulus and Said Ali is due largely to Kapudan Pasha. Ali Al Tarabulus, who initially served as Algeria’s maritime minister, was later engaged in military operations in Istanbul. In 1791 he captained a flagship in the war against Russia. Raised to the rank of Pasha of Anatolia, in 1803 he moved to Egypt together with his brother Said Ali. According to the famous Egyptian

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98 ww.) erTxmad aqeben rogorc evropelebi da arabebi, ise amerikelebic. osmaluri wyaroebis mixedviT, hasan bin usufi ahiskali, anu gamahmadianebuli mesxi iyo axalcixidan. rogorc Cans, hasani Zalze axalgazrda Cavida alJirSi da jariskacad an ieniCarad Caewera. 1770 wels is Sav zRvaze ruseT-TurqeTis brZolebSi alJiris gemebis meTauria, Semdeg jer _ alJiris sazRvao ministri, mogvianebiT ki premier-ministri (haznaji) xdeba. 1791 wels, ieniCarTa moTxovniT, alJiris deis Tanamdebobas aRwevs. alJireli mekobreebis amerikel tyveTagan erTi _ jeims qasqarTi hasanis mdivani gaxda. swored qasqarTs karnaxobda hasan dei aSS-s pirvel prezident jorj vaSingtonisadmi gasagzavn werilebs, romlebic amerikel tyveTa gaTavisuflebis pirobebs exeboda. amerikis prezidentis werilebis aslebi kongresis biblioTekaSi inaxeba. hasan dei, Tavdapirvelad moTxovnili or-naxevari milioni dolaris nacvlad, Svidasi aTass dahyabulda. deis sityvebiT, man es britanelTa jibrze gaakeTa, radgan TanaugrZnobda aSS-s axalgazrda saxelmwifos britaneTis winaaRmdeg brZolaSi. misi xelmowera erTvis aSS-tripolis samSvidobo xelSekrulebas. amerikelebma alJiris deis xomaldi saxelad _ `hasan faSa~ aCuqes. qalaq alJirSi misi agebulia qeCauas orminareTiani meCeTi da mis sasaxleSi dRes xelovnebis muzeumia ganTavsebuli. kidev erTi qarTveli, romelmac mokle xanSi mniSvnelovani kvali datova alJirelTa xsovnaSi, megreli ali xoja iyo. ali xojas kidev meguer alis (megrel alis) da ali-lokos (giJ alis) uwodebdnen. man, TanamoazreebTan erTad, mokla winamorbedi dei _ omari da Tavad gaxda alJiris mmarTveli. Zalauflebis uzurpaciisTvis man dasayrden Zalad adgilobrivebi arCia. ieniCarebs da sxva osmaluri warmomavlobis mmarTvel fenas SesTavaza, alJiri daetovebinaT, razec uari miiRo. es revoluciis tolfasi iyo. gaCaRda brZolebi, romelTac 1500 ieniCari Seewira. amerikis konsuli alJirSi meguer alis axasiaTebs, rogorc ganaTlebulsa da wignebis moyvaruls, arabi istorikosi gaidi ki _ energiuls, uaRresad Wkviansa da organizebuls. Tumca, yvela aRniSnavs mis tiranul mmarTvelobas, daundoblobasa da sisastikes. amerikeli konsuli ixsenebs aseT SemTxvevasac: `ali deisTan diplomatiur miRebaze misul konsulebs daxocilTa gvamebze mogviwia gadabijeba. darbazSi Sesulebma ki mdidrulad gamowyobili, mcvelebiT garSemortymuli ali xoja davinaxeT, romelic gatacebiT kiTxulobda wigns~. ali xojas mmarTvelobam misca dasabami dRevandeli alJiris arabul-berberuli elitis Camoyalibebas. 1818 wels alJiris divani (mmarTveli organo) sulTan mahmud II-sTan gagzavnil werilSi madlobas wiravs alahs, rom epidemiam Seiwira despoti, uzurpatori megrelis eqvsTviani mmarTveloba.

historian al-Jabarti, Ali Pasha Kapudan – supreme commander of the Ottoman navy - led the battle of Lemnos in 1807 forcing the Russian fleet to retreat and lifting the blockade of Istanbul. In 1820-21 he assumed the office of Grand Vizier. Ali Tarabulus was granted the rank of Pasha of Tripoli, from which his name Tarabulus derives. In 1795 Ali Tarabulus was driven out of the city by the Tunisian Bey’s troops under the command of Mustafa Khoja, a Georgian Mamluk. Two Georgians held the office of Dey – a title given to the rulers of the Regency of Algeria. One of them, Baba Hassan (1791-98), won widespread acclaim in both Europe and America. As for Hassan Ben Usuf Ahiskal, Ottoman sources identify him as a Meskhian man from Akhaltsikhe. Hassan, who was very young when he chanced to set foot on Algerian soil, was converted to Islam and enrolled as a Janissary in the army. In 1770 he commanded the Algerian Black Sea Navy during the Russo-Turkish war. He was appointed maritime minister of Algeria, later he won the seat of prime minister and in 1791, at the request of the Janissaries, succeeded to the post of Dey. One American captured by Algerian pirates, James Cascart, became Hassan’s secretary. Hassan Dey dictated to him letters to the first US President George Washington. The letters prescribed the terms of release of American captives and copies of them are still preserved in the US Library of Congress. Hassan Dey, who originally demanded

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XVIII s-dan qarTveli mamluqebi eraySic mravlad iyvnen. XVII s-Si evropis rig saxelmwifoebTan omebSi damarcxebulma osmaleTma didZali teritoriebi da daumarcxebeli qveynis saxeli dakarga. marcxis miuxedavad, mainc cdilobda gafarToebas sparseTis xarjze, risTvisac gadawyvita iranis mosazRvre erayis safaSos gaZliereba. es misia albanuri warmoSobis baRdadis faSa hasans (1704-23 ww.) daekisra. vilaieTis gaZliereba hasan faSam ieniCarebis SeviwroebiT daiwyo. odesRac osmaleTis imperiis samxedro Zlierebis burjni, XVIII s-Si umarTav Zalad iqcnen. hasan faSas mier maT asalagmad Seqmnili axali cxenosani laSqari `levanda~ erayelebisgan, `piradi gvardia~ ki kavkasielebisgan, ZiriTadad, qarTvelebisgan Sedgeboda. osmalebi kavkasielebs karg, disciplinirebul samxedro Zalad zrdidnen. hasan faSa tyveTa bazrebze SeZenil qarTvel Wabukebs mis mier daarsebul skolebSi agzavnida, sadac mkacri reJimi iyo. iq aswavlidnen enebs, literaturas, religias, kulturas, samxedro saqmesa da curvas. arab istorikosTa sityviT, am saswavleblebidan `kalmisa da xmlis~ ostatebi gamodiodnen, romelTac, Semdeg, sxvadasxva sapasuxismgeblo Tanamdebobebi ekavaT. ase gaCnda baRdadSi qarTvelTa kolonia. 1723-47 ww-Si erays hasanis vaJi ahmad faSa marTavda.

two and a half million dollars in return for releasing prisoners, scaled down his ransom demand to 700 thousand. He did it out of a grudge against the British and in sympathy with the newly emerged country of the United States then at war with Britain. His signature is engraved on the US-Tripoli peace agreement. Americans granted the Algerian Dey a vessel named ‘Hassan Pasha’. He built a mosque with two minarets in Algeria and his palace presently houses a museum of art. Another Georgian who left a marked imprint on the memory of Algerians was Ali Khodja from Megrelia. He was also known as Meguer Ali (Megrelian Ali) and Ali-Loko (Mad Ali). Acting in league with his cohorts, he slaughtered his predecessor Dey Omar and assumed the reins of Algeria. In usurping power, he preferred to rely on the local population and ordered Janissaries and rulers of Ottoman extraction to leave Algeria but was rejected. It was tantamount to a rebellion. Scuffles that broke out cost the lives of 1500 Janissaries. An American consul in Algeria describes Meguer Ali as a well-educated and highly literate man, while the Arab historian Gaid thinks of him as enormously energetic, very clever and self-disciplined. But all agree that he had a notorious reputation for being a tyrannical ruler, brutal and truly atrocious. The American consul recalls that, ‘invited to a diplomatic meeting with Ali Dey we had to make our way amid the hordes of corpses lying around. Inside the palace we were admitted to the sight of Ali Khodja donned in luxurious apparel and surrounded by heavily armed guards. He seemed completely absorbed in reading’. Ali Khodja’s reign led to the formation of Algeria’s Arab-Berberian elite. In a letter sent in 1818 to Sultan Mahmud II, Algeria’s Dīvān (chief official) raises all praise to Allah for letting the killer epidemic put an end to the sixmonth tyranny of the brutal Megrelian despot and usurper.

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sparseTis Sah-nadirTan gamarTul brZolebSi Tavi gamoiCina qarTvelma mamluqma suleiman aRam, romelsac madlierma ahmadma qaliSvili miaTxova. suleiman aRam saxeli gaiTqva RamiT mogebuli brZolebiT, ris gamoc mas `abu-laila~, anu wyvdiadis mama Searqves. erayis pirveli faSa swored suleimani (1749-61 ww.) gaxda. miuxedavad stambulis winaaRmdegobisa, 82 wlis ganmavlobaSi, 1831 wlamde, erays mamluqTa wridan gamosuli qarTvelebi marTavdnen. qarTuli warmomavlobis faSebi warmatebiT agrZelebdnen hasanisa da ahmedis saSinao da sagareo politikas. iyenebdnen `gaTiSe da ibatones~ princips Siit da sunit arabul da qurTul tomTa dasapirispireblad. gonivrulad sargeblobdnen osmaleTs, sparseTs, ruseTs, safrangeTsa da ingliss Soris arsebuli winaaRmdegobebiT da wonasworobas inarCunebdnen am rTul viTarebaSi. suleiman abu-lailam kidev ufro gazarda qarTvel mamluqTa raodenoba. misi mmarTvelobisas savaWro centrebma sparseTidan basraSi gadmoinacvles, sadac inglisuri ost-indoeTis savaWro kompaniis warmomadgenlobac gaixsna. erayelebi da mamluqebi `oqros xanad~ suleiman faSa al qabiris (1780-1802 ww.) mmarTvelobas miiCnevdnen. miuxedavad dausrulebeli ajanyebebisa da brZolebisa, erayi suleiman faSa al qabiris dros yvelaze stabiluri regionia osmaleTis imperiaSi.

From the 18th century Georgian Mamluks appeared in Iraq as well. Defeated in wars with a number of European countries in the previous century, the Ottoman Empire lost vast territories and a well-deserved reputation for being unvanquished. The loss notwithstanding, the Empire still sought to extend its borders at the expense of Persia, by strengthening the Iraqi Pashate bordering Iran. This task was entrusted to the Pasha of Baghdad Hasan (1704-23). With the goal of empowering the vilâyet, Hasan Pasha started to suppress Janissaries who, once the pillar of the Ottoman Empire’s military might, had turned into an absolutely uncontrolled force. The cavalry regiment ‘Levanda’ that Hasan Pasha recruited specifically to destroy Janissaries, consisted of Iraqis. The activeduty guard was composed of Caucasians, mostly Georgians. Ottomans trained Caucasians into well-disciplined military units. Hasan Pasha bought Georgian captives and even sent them to schools set up by him where they were schooled, under a watchful eye, in languages, literature, religion, culture, military skills and swimming. Arab historians describe graduates of these schools as ‘Masters of Pen and Sword’. They often held high-powered positions, which led to the emergence of a Georgian colony in Baghdad. Iraq in 1723-47 was ruled by Hasan’s son Ahmad Pasha. Georgian Mamluk Suleiman Agha distinguished himself in the battles against the Iranian ruler Nadir Shah. As a token of gratitude, Ahmad Pasha gave him his daughter in marriage. Suleiman Agha’s rapid rise to fame is due to the battles he won overnight that earned him the nickname Abu-Laila, translating as King of Darkness. Sulaiman (1749-61) became Iraq’s first Pasha. Despite Istanbul’s strong protest, Iraq remained under the rule of Georgian Mamluks for 82

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erayis bolo mamluq faSa daudis Sesaxeb yvelaze meti biografiuli cnoba arsebobs. daudis mSoblebi, qvemo qarTlSi mcxovrebi giorgi da mariam manvelaSvilebi, orbelianebis ymebi iyvnen. daviTi, rogorc fiqroben, 1774 wels unda iyos dabadebuli. is 5-6 wlis moutaciaT da, ramdenime patronis gamocvlis Semdeg, 11 wlisa, baRdadis tyveTa bazarSi gasayidad miuyvaniaT. aq gamahmadianebuli daudi mamluq mustafa begs SeuZenia da suleiman faSa al qabirisTvis miurTmevia. faSam daudi mamluqTa saswavlebelSi miabara, sadac man Cinebuli niWi gamoiCina, samxedro varjiSobebTan erTad warmatebiT daeufla sxva sagnebs da RvTismetyvelebis saukeTeso mcodnis saxelic daigdo. ganaTlebis miRebis Semdeg is faSas piradi beWdis mcveli, mogvianebiT ki safaSos xazinadaria. 27 wlisa suleiman al qabiris siZe gaxda. 1817-31 ww-Si daudi erayis faSaa. qveynis saTaveSi mosvlisTanave erayis damoukidebloba ganizraxa, risTvisac, pirvel rigSi, aRadgina Zveli da aaSena axali melioraciuli sistema, gazarda sasoflo-sameurneo da adgilobrivi mrewvelobis produqtebis warmoeba, ucxoelebs mouspo savaWro privilegiebi da Tavisufleba misca erayel vaWrebs. qveyanaSi Semosavlebis zrdam dauds saSualeba misca, daewyo didi aRmSeneblobiTi saqmianoba. misi davalebiT aigo uamravi xidi, bazari, meCeTi, abano, saavadmyofo, biblioTeka, skola da sxv. misi

years, until 1831. Ethnically Georgian Pashas successfully pursued Hasan’s and Ahmed’s foreign and internal policies of divide and rule to spark bitter feuds between Shiite and Sunni Arabs on the one hand and Georgian communities on the other. They capitalized shrewdly on heavy confrontations among the Ottoman Empire, Persia, Russia, France and England trying to maintain equilibrium in the crossfire of hostilities. Suleiman Abu-Laila increased the number of Georgian Mamluks. He removed trade centers from Persia to Basra and set up there a branch of an English Ost-Indian company for goods. Iraqis and Mamluks described as halcyon days the reign of Soliman Pasha Al-Kabir (1780-1802). Despite endless revolts and political turmoil, Iraq under the rule of Soliman Pasha Al-Kabir remained one of the most stable regions in the Ottoman Empire. History is more eloquent in describing Iraq’s last Mamluk ruler – Daud Pasha. Born in 1774 to Georgian parents in Kvemo Kartli – Giorgi and Mariam Manvelashvili, servants to Prince Orbeliani, Daud was kidnapped when he was 5 or 6. He changed several masters until he was sold to Mustapha Beg at the age of 11. The latter gave him as a present to Soliman Pasha Al-Kabir. Daud was enrolled in school where he excelled himself at military sports. Daud shone at other disciplines as well, including theological studies. After finishing school he became guard of Pasha’s Seal and Treasurer of the Pashate. At the age of 27 he married a daughter of Soliman Pasha Al-Kabir. In 1817-31 Daud continued as Pasha of Iraq. Upon accession to his post he set himself the overriding task of making Iraq an independent

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mmarTvelobis dros gaixsna pirveli stamba da qaRaldis fabrika. am reformebis Semdeg daudma evropulad gawvrTnili da SeiaraRebuli armiac Seqmna. daud faSam qarTveli vaWris _ andria zubalaSvilis daxmarebiT saqarTveloSi Tavisianebi moZebna. zubalaSvilisave meSveobiT man kavkasiis mTavarmmarTebel ermolovs TxovniT mimarTa da ojaxi orbelianebis ymobidan gaaTavisuflebina, deda da Zmebi baRdadSi miiwvia, Zmebi _ Sio da dimitri wavidnen, xolo moxucma dedam saqarTvelo ver datova. mmarTvelobis bolo periodSi gaZlierebulma daudma saerTod gawyvita samxedro da finansuri kavSiri metropoliasTan. portam mis gadasayeneblad alepos faSa, lazuri warmomavlobis ali rida gaagzavna, romelsac moulodnel mokavSireebad Savi Wiris epidemia, wyaldidoba da cieb-cxeleba moevlina. epidemiebma da stiqiurma ubedurebebma ali rida faSas gza gauxsna baRdadisken. gadayenebulma, magram Sewyalebulma, daud faSam osmaleTis imperiaSi mTel rig did Tanamdebobebze imsaxura. ukanaskneli wlebi ki wminda qalaq medinaSi Seix ul-haramis, anu muhamed winaswarmetyvelis mavzoleumis zedamxedvelis Tanamdebobaze gaatara. 1851 wels daudi medinaSi, meore marTlmorwmune xalifa osmanis (634-44ww.) gverdiT dakrZales. mis saflavs, anderZis Tanaxmad, ubralo rkinis galavani aqvs Semovlebuli. daviT jafariZe

country. He restored obsolete irrigation systems and built new ones; increased production levels of agriculture and industry; deprived foreigners of trade preferences and gave a greater scope of freedom to Iraqi merchants. The growth of incomes was followed by a boom in construction, including a great number of bridges, markets, mosques, bath-houses, hospitals, libraries, schools, etc. The first printing house and paper plant were opened under the rule of Daud Pasha. He borrowed a European style in building up a mighty and well-disciplined army. Daud Pasha enlisted the help of Georgian merchant Andria Zubalashvili to track down his family in Georgia. With the assistance of Zubalashvili he even petitioned Yermolov, commander-in-chief in the Caucasus, to free his family from the Orbelianisâ&#x20AC;&#x2122; serfdom. At the invitation of Daud Pasha, his brothers Shio and Dimitri left for Baghdad. Mother, however, refused to go. During the last years of his tenure, at the very peak of power, Daud Pasha withdrew from all kinds of military and financial connections with the metropolis. The Porte commissioned Ali Rida Pasha to march from Aleppo into Iraq to overthrow Daud Pasha. Devastated by floods and an epidemic of bubonic plague and fever, Baghdad capitulated to Ali Rida after a token resistance. Daud Pasha was removed from power but pardoned. After that he held a number of high-powered posts in the Ottoman Empire. Daud Pasha ended his life as a custodian of the shrine of the Holy Prophet Muhammad in Medina. He was buried in 1851 next to Osman Khalifa (634-644). His grave, by virtue of his last will, was surrounded by a simple iron fence. Davit Japaridze

g v a a T d a s s i a v r a p l a R

genealogiuri xe, varlam jmuxaZe GENEALOGICAL TREE, VARLAM JMUKHADZE

z 1 (15) 2019

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zRapari Txrobis uZvelesi formaa da misi warmoSoba miTebis funqciis dakargvasTanaa dakavSirebuli. zRaparsa da miTs bevri ram aqvT saerTo, Tumca umTavresi ganmasxvavebeli SesaZloa is iyos, rom zRapars aRar aqvs is sakraluri Zala da mniSvneloba, rogoric miTs hqonda Tavis droze. albaT, amitom zRaprebi miTologiis kvlevisTvis umniSvnelovanesi wyaroa. amiTaa ganpirobebuli isic, rom mecnierebi dRemde agroveben zRaprebs, rogorc masalas Zveli religiuri warmodgenebis rekonstruqciisTvis. Tumca Sua saukuneebis milevasTan da

Fairy tales are the most ancient form of storytelling, and their origin is linked to the disappearance of the function of myths. Fairy tales and myths have a lot in common, but the main difference might be the fact that fairy tales donâ&#x20AC;&#x2122;t possess the sacral strength and significance that were characteristic of myths. Perhaps this is why fairy tales are an important source for the study of mythology. This is also the reason why to this day, scientists gather fairy tales as materials that will help them in the reconstruction of old religious beliefs. But together with the end of the Middle Ages and the beginning of the modern period, just like all the rest, fairy tales have

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taxi, xatia CitoreliZe / BOAR, KHATIA CHITONELIDZE

axali drois (modernulobis periodis) dadgomasTan erTad, rogorc sxva yvelaferma danarCenma, zRaprebmac icvales forma, feri da Zveli, xalxuri zRaprebisgan gansxvavebiT avtorebic gauCndaT. Tuki manamde aravin svamda kiTxvas, visi SeTxzuli iyo, esa Tu is zRapari modernulobis periodma sxvadasxva avtorebs imisken ubiZga, rom ar dakmayofilebuliyvnen xalxSi gavrcelebuli zRaprebiT da maTi miTologiuri SinaarsiT, sakuTari SeeTxzaT. isini ara adamianis cnobierebis uZveles miTologiur plastebs warmoaCendnen, aramed jadosnuris elementebis gamoyenebiT, avtoris filosofiur, politikur Tu socialur xedvas gviCvenebdnen. ganmanaTleblobis epoqam TiTqos moaxerxa da (rogorc sociologebi amboben) samyaro ganajadova. maTi mxridan, yovelgvari iracionaluris winaaRmdeg, gamocxadebuli samkvdro-sasicocxlo omis miuxedavad, is rom zRapars mainc ar daukargavs mniSvneloba, aqtualoba da Tan maSin, rodesac adamianebma lamis yoveldRiur praqtikad aqcies yovelgvari zebunebrivis Tu jadosnuris gaZeveba Cveni cnobierebidan da realobidan, gviCvenebs, rom zRapari,

wiqara, xatia CitoreliZe / TSIKARA, KHATIA CHITONELIDZE

changed in both form and content, and unlike old folk tales, they were endowed with authors. If previously, nobody was asking who had created this or that story, the modern period inspired various authors to not settle for the fairy tales that were circulating between people, and to compose their own ones according to the mythology of folk tales. They were not using the ancient mythological models found in people’s consciousness, but through the use of magic elements, they were presenting their philosophical, political or social views to the public. It seems that the Age of Enlightenment managed to disenchant, as sociologists say, the world. The fact that despite the all-out war they announced against any kind of irrationality, fairy tales didn’t lose their importance or topicality – and what is more, at a time when it almost became a daily practice to expel any supernatural or magic from our consciousness and reality – shows that fairy tales, as a form of storytelling and thinking, will never cease to exist. People will return to it again and again, as an inextinguishable source of fantasy and ideas. It is worth noting that the attack on anything irrational that took place during the Enlightenment period didn’t stay unanswered from the artists’ side. The artists who took the responsibility to repulse this attack are called the Romantics. To rational, cold-blooded thinking, they opposed the enchantment of irrationality. The romantic movement gave birth to great fairy tale authors and writers, such as, for instance, Hans Christian Andersen. German romanticism particularly stood out. Fairy tales, as a means of describing the Romantic worldview, have developed in an utterly interesting way in the German language. Fairy tale authors produced by German romanticism, such as Ernst Theodor Amadeus Hoffmann, Wilhelm Hauff, Adelbert von Chamisso or Friedrich de la Motte Fouqué have endowed fairy tales with the depth of thought, most refined style and allegoric features that are characteristic of German thinking. With this, German fairy tales have become a source of inspiration not only for authors and poets, but for painters, film directors, composers and other artists, and numerous operas, shows, paintings, and other works have been based on them. Apart from the fact that specific authors were now attached to fairy tales, the 19th century also saw the development of illustration, which has remained an inseparable part of children’s literature to this day: could you, today, imagine a fairy tale, a collection of stories for children, or any juvenile literature without illustrations? This transformation points to the fact that children’s literature and the art of illustration were not at all the two inseparable fields that we often imagine them to be today. In the 1840s, a rather large number of interesting authors were writing children’s literature, and the fairy tale tradition created by the Romantics was still strong, but illustrations did not yet hold great significance. The story of illustration has its own heroes – Heinrich Hoffmann, a doctor and psychiatrist from Frankfurt, has played a significant role in the development of illustration.

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rogorc Txrobis da azrovnebis forma, arasdros Sewyvets arsebobas. adamianebi ki kvlav da isev miubrundebian mas, rogorc fantaziis da azrovnebis uSret wyaros. aRsaniSnavia, rom ganmanaTleblobis epoqaSi yovelgvar iracionalurze Tu jadosnurze ieriSi, upasuxod namdvilad ar darCenila xelovanTa mxridan. mezRaprexelovanTa jgufs, romelmac am Semotevis mogerieba itvirTa, romantikosebi ewodebodaT. maT racionalur, civ gonebas iaracionalizmis momajadoebloba daupirispires. romantikuli mwerlobis wiaRidan aRmocendnen didi mezRapre-mwerlebi, magaliTad rogoric hans qristian anderseni iyo. calke aRniSvnis Rirsia germanuli romantizmi. zRaparma, rogorc romantikuli msoflmxedvelobis gamoxatvis saSualebam, erT-erTi yvelaze saintereso ganviTareba swored germanulSi hpova. romantizmis wiaRSi gamoCenilma mezRapreebma, ernst Teodor amadeus hofmanma, vilhelm haufma, albert fon Samisom

Despite the fact that he dedicated the major part of his life to medicine, history mostly remembers him as an author of fairy tales and illustrator. Another of his achievements is that unlike the abovementioned great German authors, his literature was written directly for children, and it didn’t bear a philosophical goal, but it had a specific addressee – Hoffmann’s first fairy tales, which were in verse, were written for his own son. He had discovered that the fairy tales that he was reading to his son were getting directly to the point. This is why he decided to write his so-called “Scary Stories”, the main characters of which are children who misbehave, don’t listen to their elders, and in the end, suffer disastrous consequences because of their misbehavior, or find themselves in an unpleasant situation, become crippled, or even die. For instance, a small girl who plays with matches is reduced to a heap of ashes. Or there’s a story about the little Kasper, who always used to

cxraklituli, giorgi jinWaraZe / "NINELOCK", GIORGI JINCHARADZE

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zRva, TaTia nadareiSvili SEA, TATIA NADAREISHVILI

Tu fridrih de lamot fukem zRapari germanuli azrovnebisTvis damaxasiaTebeli RrmaazrovnebiT, udaxvewilesi stiliT da alegoriulobiT Semoses. am niSniT germanulenovani zRaprebi aramarto mwerlebis da poetebis STagonebis wyarod iqca, aramed mxatvrebis, kinoreJisorebis, kompozitorebis da xelovnebis sxva warmomadgenlebisTvis. maT mier Seqmnili zRaprebis motivebze daiwera araerTi opera, daidga speqtakli, daixata tilo da a.S. garda imisa, rom zRaprebs konkretuli avtorebi gauCndaT, mecxramete saukuneSi aseve ganviTarda ilustraciis xelovneba, romelic dRemde sabavSvo literaturis ganuyreli Tanamgzavria: da sadReisod,

eat well, but after he starts refusing to eat, he loses weight, becomes weak, and dies after five days. He gathered these “Scary Stories” in his first book, ‘Struwwelpeter’. At first, Hauffmann wasn’t even planning to publish ‘Struwwelpeter’, but after his publisher friend convinced him to do so, he decided to prepare the collection of stories to be printed. The book was published in 1845, and was very successful. Hoffmann played an important role not only for the development of the fairy tales themselves, taken as texts, but also of the art of illustration in Germany, as he illustrated his collection himself. To this day, ‘Struwwelpeter’ is a popular children’s book, and it has been translated into many languages. There is also a Struwwelpeter Museum in Frankfurt, and it is a unique place where illustrations are one of the main attractions.

tye, eka tabliaSvili FOREST, EKA TABLIASHVILI

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maketi tye: TaTia nadareiSvili

tyis maketi, TaTia nadareiSvili / FOREST MAQUETTE, TATIA NADAREISHVILI

maT gareSe TiTqmis warmoudgenelia zRapris wigni, sabavSvo moTxrobebis krebuli Tu saymawvilo romani. ase rom, sabavSvo literatura da ilustraciis xelovneba srulebiTac ar iyo ori iseve ganuyofeli ram, rogoradac es dRevandeli gadmosaxedidan Cans. mecxramete saukunis ormocian wlebSi, sakmaod bevri saintereso avtori werda sabavSvo literaturas, romantikosebis mier Seqmnili zRapris tradicia isev Zlieri iyo, Tumca ilustraciebs jer kidev ar eniWebodaT didi mniSvneloba.

Many interesting events have taken place in the context of the 2018 Frankfurt Book Fair. As the Guest of Honor of the fair, Georgia presented various captivating projects, and one of them was the Tsikara Museum, which was created in collaboration with the Struwwelpeter Museum. The idea behind it was for young Georgian artists to create works for the Georgian folk tale ‘Tsikara’. But because this project also included the creation of a museum dedicated to Tsikara in Tbilisi, the artworks weren’t restricted to illustrations – various objects, maquettes, and small sculptures were created, as

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ilustraciis istoriasac Tavisi gmirebi hyavs _ frankfurtel eqimsa da fsiqiatrs hofmans, gansakuTrebuli wvlili aqvs Setanili ilustraciis xelovnebis ganviTarebaSi. miuxedavad imisa, rom man cxovrebis udidesi nawili medicinas miuZRvna, istorias igi, pirvel rigSi, mezRapris da ilustratoris saxeliT SemorCa. misi damsaxurebaa isic, rom gansxvavebiT zemoTCamoTvlili, didi germaneli mwerlebisgan es literatura uSualod bavSvebisTvis iwereboda da mizani ara filosofiuri zRaparSemoqmedeba iyo, aramed konkretuli adresati hyavda _ hofmanma pirveli galeqsili zRaprebi Tavisi vaJisTvis dawera. man aRmoaCina, rom zRaprebi, romlebsac Svils ukiTxavda sworxazovani iyo da pirdapir ambobda saTqmels. amitom gadawyvita e.w. „saSiSi zRaprebi~ daewera, romelTa mTavari gmirebic iseTi bavSvebi iqnebodnen, romlebic cudad iqcevian, ar ujereben ufrosebs da sabolood mwared isjebian saqcielis gamo, an usiamovno situaciaSi amoyofen Tavs, xeibrdebian an sulac kvdebian. magaliTad patara gogona romelic asanTiT TamaSobs sabolood ise daamTavrebs, rom misgan nacris grova darCeba. an patara kasperze, romelic yovelTvis kargad Wamda, magram mas Semdeg rac Wamaze uari Tqva, gaxda, dasustda da mexuTe dRes suli ganuteva. aseTi `saSiSi~ zaRaprebisgan Seiqmna kidec misi pirveli wigni `Struvelpeteri~. hofmani Tavidan arc ki apirebda `Struvelpeteris~ gamocemas, magram mas Semdeg rac gamomcemelma megobarma daarwmuna, gadawyvita krebuli dasabeWdad gaemzadebina. wigni 1845 wels gamoica da didi warmatebac xvda. hofmanis damsaxureba mxolod mwerluri ki ara, aramed germanuli sabavSvo ilustraciis xelovnebis ganviTarebaSic didia... radgan Tavadve daasuraTa is. germaniaSi `Struvelpeteri~ dRemde popularuli sabavSvo nawarmoebia da mraval enazea Targmnili. mainis frankfurtSi, dResac arsebobs `Struvelpeteris~ muzeumi, rogorc unikaluri adgili, sadac ilustraciebi erT-erT umniSvnelovanes rols asruleben.

well as maps depicting the journey of the bull Tsikara and the boy (the two main characters of the tale); a comb, whetstone, mirror, and a traditional flute were prepared – the objects that the boy and Tsikara use in the fairy tale. In short, the artists made sure to exhibit every object that is represented in the tale (and we are not even talking about the illustrations that magnificently complement the story). Illustrators Giorgi Jincharadze, Eka Tabliashvili, Khatia Chitorelidze and Tatia Nadareishvili have done a tremendous work in order to accomplish this project. Apart from painting the abovementioned illustrations, they also laid the foundations of Tsikara Museum’s concept. In the latter, illustrations had to play a central, but not decisive role. As a result, we got an impressive “Museum in a Museum”, which has no equivalent in Georgian museums. The concept was chosen according to the tale’s structure, and the exhibition was divided in five parts: House, Mirror, Comb, Whetstone, and “Ninelock”. So the various illustrations or objects displayed at the exhibition were not arranged randomly, but according to the structure of the tale itself. And in this way, the exhibition itself was narrating us the tale. The fact that it wasn’t the work of some specific Georgian author but a folk tale that was chosen for the Struwwelpeter Museum is interesting in itself, and what is more, this interpretation of Tsikara allowed for a modern rendition of the tale. Unlike new tales, which have specific authors, folk ones are usually less subject to free interpretation. They are so deeply engraved in our subconscious that it is difficult to give a specific and modern form to the ancient representations they contain, like the Georgian illustrators masterfully managed to do. They managed to inject a modern soul in these complex and archaic representations – not in any vulgar or plain way, by roughly adapting the old to a modern form, but with great caution and effort. Modern and archaic representations are so harmoniously combined in these works that only the most perceptive eye could notice that this look directed towards us is both ancient and new. L. Sh.

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wiqara, sarke, savarcxeli, salesi qva - giorgi jinWaraZe TSIKARA, MIRROR, COMB, WHETSTONE - GIORGI JINCHARADZE

2018 wlis frankfurtis wignis bazrobasTan dakavSirebiT bevri saintereso proeqti ganxorcielda. saqarTvelom, rogorc bazrobis sapatio stumarma, mravali xorcSesxmuli idea warmoadgina, erT-erTi gamorCeuli, wiqaras muzeumi iyo, romelic swored `Struvelpeteris~ muzeumTan TanamSromlobiT gakeTda. idea imaSi mdgomareobda, rom uZvelesi qarTuli zRapris `wiqaras~ mixedviT axalgazrda qarTvel mxatvrebs namuSevrebi SeeqmnaT. Tumca radganac idea, aseve wiqaras muzeumis TbilisSi dafuZnebasac isaxavda miznad, namuSevrebi mxolod zRapris ilustrirebiT ar Semofarglula _ damzadda sxvadasxva nivTi, maketi, mcire zomis skulptura, daixata rukebi, romelzec wiqaras da biWis moZraobis marSruti iyo gamosaxuli. damzadda savarcxeli, salesi qva, sarke, salamurebi _ is nivTebi, romlebsac biWi da wiqara zRaparSi iyeneben. mokled mxatvrebma izrunes, rom yvela nivTi, romelic zRaparSi naxsenebi iyo, daemzadebinaT (saubari ar gvaqvs, ilustraciebze, romlebic zRapris siuJets araCveulebrivad mogviTxroben). am ambiciuri proeqtis gansaxorcieleblad Zalian bevri iSromes ilustratorebma giorgi jinWaraZem, eka tabliaSvilma, xatia CitoreliZem da TaTia nadareiSvilma. maTi amocana, aramxolod ilustraciebis damzadeba, aramed zRapris muzeumis koncefciis Seqmnac iyo. am koncefciaSi ilustraciebs, centraluri, magram ara gadamwyveti roli unda SeesrulebinaT. Sedegad miviReT STambeWdavi muzeumi muzeumSi, romlis analogi qarTul samuzeumo sivrceSi aqamde ar arsebula.

koncefcia, zRapris agebulebidan gamomdinare SeirCa da gamofena xuT nawilad daiyo: saxli, sarke, savarcxeli, salesi qva da cxraklituli. ase rom gamofenaze, sxvadasxva ilustracia Tu nivTi, SemTxveviTobis principiT ki ar iyo dalagebuli, aramed Tavad zRapris agebulebis mixedviT. Sesabamisad warmodgenili eqspozicia Tavad gviyveboda zRapars. Tavad faqti, rom `Struvelpeteris~ muzeumisTvis SeirCa ara romelime qarTveli mezRapris nawarmoebi, aramed xalxuri zRapari, TavisTavad sainteresoa, wiqaras amgvari interpretacia xalxuri zRapris Tanamedrove gaazrebis saSualebad iqca. xalxur zRaprebs, gansxvavebiT axali tipis zRaprebisgan, romlebsac konkretuli avtori hyavs xolme, naklebad ganixilaven Tavisufali aRweris sagnad. isini imdenad Rrmad arian Cvens aracnobierSi fesvgadgmulni, rom Znelia maTSi arsebul uZveles warmodgenebs, aseTi konkretuli da Tanamedrove saxe misce, rogorc mas qarTvelma ilustratorebma mianiWes. maT am urTules da arqaul warmodgenebs, Tanamedroveobis suli STaberes, magram aravulgaruli da sworxazovani gziT, ZvelisTvis Tanamedrove formis uxeSi morgebiT, aramed didi sifrTxiliTa da rudunebiT. am namuSevrebSi, Tanamedroveoba da arqauli warmodgenebi isea erTmaneTTan Serwymuli, rom mxolod dakvirvebuli Tvali Tu SeamCnevs, rom mzera romelic Cvenskenaa momarTuli erTdroulad Zvelicaa da axalic. l. S.

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Tvali mzisa da mudmivi moZraobis simbolo

`im dros RvTaeba asuris, Cemi meufis didi ZaliT, diad RvTaebaTa SemweobiT, me, TiglaTfileseri, romelic samyaros oTxiv mxareze samarTlianad vmbrZaneblob, romelsac ar myavs mZleveli omSi da toli brZolaSi, Soreul mefeTa qveynebisaken, romelnic zemo zRvis napiras cxovrobdnen da romlebmac ar icodnen Tu ra aris morCileba, RvTaeba asurma, meufem, gamgzavna . . . sul 23 mefem, Sekribes TavianT qveynebSi Tavisi etlebi da jarebi da brZolisa da omisaTvis gamoemarTnen. Cemi Tavzardamcemi iaraRis siSmagiT Tavs davatydi me maT . . . maTi 120 SeWurvili etli brZolaSi xelT vigde. nairis qveynebis 60 mefes maTTan erTad, romelnic maT dasaxmareblad movidnen, Cemi SubiT zemo zRvamde mivsdie. maTi didi qalaqebi davipyar, maTi nadavli, maTi qoneba, maTi sarCo-sabadebeli wamoviRe . . . cxenebis, jorebis, jor-cxenebis mravalricxovani jogebi da maTi mindvris pirutyvi uricxvi wamoviyvane~. TiglaTfileser I (Zv.w. 1115-1077), asureTis mefe, ilaSqra diaoxis winaaRmdeg 1112 wels.

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Wheel

Symbol of the Sun and eternal movement "At that time, with the exalted might of the god Assur, my lord, with the support of the great gods with which I have ruled properly in the four quarters and have no rival in battle nor equal in conflict, at the command of the god Assur, (my) lord, I marched to the lands Nairi whose distant kings, on the shore of the Upper Sea in the west, had not known submission... altogether 23 kings combined their chariotry and army in their lands (and) advanced to wage war, strife, and combat. With the onslaught of my fierce weapons I approached them (and) destroyed their extensive army like a storm. . . I seized in battle 120 of their chariots with equipment (and) 60 kings of the lands Nairi, inÂcluding those who had come to their aid, I chased at arrowpoint as far as the Upper Sea. I conquered their great towns (and) brought out their booty, possessions, (and) property... I brought back extensive herds of horses, mules, (and) donkeys - the livestock of their pastures â&#x20AC;&#x201C; without number". Tiglath-Pileser I (1115-1077 BC), King of Assyria, campaigned against the Daiaeni tribes in 1112.

civilizaciis ganviTarebisTvis Tvlis Seqmnas udidesi mniSvneloba hqonda. kiTxva ki sad, rogor, vis mier da ra pirobebSi ganxorcielda kacobriobis es udidesi gamogoneba, dResac pasuxgaucemelia. mecnierebi materialuri kulturis am umniSvnelovanesi elementis dabadebis ramdenime Teorias gvTavazoben.

The wheel has played a prominent role throughout the history of civilization. The exact date and birthplace of the epoch-making invention is still obscure. Scientists have contributed several suggestions as to the provenance of this exceedingly important element of material culture.

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ingliseli mecnier-eTnografi edvard tailori (18321917) miiCnevs, rom Tvlis (borblis) da oTxTvalas gaCena Semdegnairad SeiZleba warmovidginoT: Tavdapirvelad, uZvelesi adamiani xis varjs iyenebda moWril (moCexil) qvis, xisa Tu sxva simZimeTa gadasagoreblad. SemdgomSi, meti siiolisTvis `gadasagorebeli~ daixvewa da gaumjobesda _ varji iTleboda, Txeldeboda _ Tavsa da boloSi simrgvalemimagrebul erTgvar RerZad iqceoda, romelsac qveS mogrZo, uxeS sadgars udebdnen xolme. amgvari konstruqciis warmodgeniT, Tvalwin gvexateba umartivesi oTxTvala. sakuTari naazrevis gasamyareblad tailori, jer kidev XIX saukuneSi espaneTsa da portugaliaSi SemorCenil urmebs iSveliebda, romelTa RerZi borblebTan (TvlebTan) erTad brunavda. sailustraciod, mecnieri romaul etlsac asaxelebda, romlis oTxkuTxa boloebis mqone RerZi aseve borblebTan erTad brunavda. SemdgomSi RerZi uZravad magrdeboda etlis Zaraze da masze mimagrebuli Tvlebi Tavisuflad trialebda. aseve, ingliseli mecnier-arqeologi gordon Caildi (1892-1957), ikvlevda ra uZveles Sumerul naxatebs, im daskvnamde mivida, rom borbali Tvalkavisa da xis

The invention of the wheel and carriage is soundly based to follow the pattern set out by E. Tailor: a simple tree trunk for use as a roller to shuttle tree trunks, stones and other heavy weights was thinned in the middle to resemble something like an axle with two wide and round heads. The first carriage sprang up as a result of propping a rank of beams lengthways on such axle. By way of substantiation of this theory, Tailor points out that archaic carts (with simultaneous axle-wheel revolving) had presence in Spain and Portugal until as late as XIX century. The scientistâ&#x20AC;&#x2122;s second illustrative example is a Roman chariot whose axle with quadrangular heads at each end was meant

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Zelis SeerTeba-SeTanadebiT gaCnda. arsebobs aseTi mosazreba, rom Tvlis Seqmnis idea TiTistaris brunvas ukavSirdeba. Teoriis teqnikur safuZvels didi sagnebis mciresagan warmoqmnis bunebrivi logika amyarebs. erTerTi mosazrebiT, qvisa Tu Zvlis momrgvalebuli sagnebis gaxvretiT miRebul nivTebs, TiTistaris `teqnologiiT~ amzadebdnen, romelsac pirvelyofili ostatebi kargad flobdnen. amasTanave, miiCneva, rom es teqnologia oTxTvalas gaCenasac uswrebs win. zogi naazrevs amgvarad ayalibebs: `odesRac adamianma memkvidres, pirmSos saTamaSo daumzada. es TiTistars mimsgavsebuli erTgvari joxi iyo, romelsac Tavsa da boloSi mrgvali sagani hqonda mimagrebuli. amgvarad, Seiqmna miwaze mogorave (moZravi) momcro saTamaSo, raic sakmarisi aRmoCnda samomavlo, Tvliani transportis sawyisi formis Sesaqmnelad.~

to spin together with a wheel. As a measure of concern for the level of sophistication, the axle was later fixed motionless on the bottom of the carriage. The English scientist G. Child is of the persuasion that the wheel evolved from a tricky combination of sledge and log, as depicted by one of the Sumerian representations. One speculation successively traces the origin of the wheel to spindlers, miniature objects made by puncturing of rounded stones or bones. The technological foundations of this theory are laid on the logical base suggesting that small objects originate from big ones. The authors of this theory urge spinning techniques must have predated the emergence of the carriage. The assumption of one of such-minded scientists is to the following effect: â&#x20AC;&#x153;A mother in the remote past

Tvlis (borblis) Seqmna-gamogoneba aramarto materialur aramed religiur safuZvelsac atarebs. sadReisod sakamaTo araa, rom kacobrioba, religiuri azrovnebis gaCenisTanave ciur mnaTobTa Tayvaniscemas amJRavnebs. pirvelyofili adamianis warmodgeniT, mxolod dedamiwa iyo uZravi; sxva ciuri sxeulebi ki (mze, mTvare, varskvlavebi) sakuTari RerZisa da Cveni planetis garSemo moZraobdnen. CvenSi, iseve rogorc mTel samyaroSi uxvadaa gavrcelebuli qvis Tu brinjaos

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mrgvali firfitebi (diskoebi), romelzedac jvrebi da momrgvalebulboloiani borjRalis gamosaxulebebia datanili. amgvari ornamentireba damaxasiaTebelia qarTuli sayofacxovrebo nivTebisTvis, gansakuTrebiT es avejs exeba. gamosaxuleba-samSvenisebi mzisa da mudmivi moZraobis gansaxovnebaa, maTi simbolo-miniSnebania. TvalTa (borbalTa) igiveoba miTologiaSic dasturdeba. magaliTad, Zvelinduri gadmocemiT, indram, induri miTosis erT-erTma mTavarma RvTaebam, mzis RmerTs Tvali (borbali) mohpara, romelic demonebTan sabrZolvelad sWirdeboda. Crdilokavkasiur gadmocemebSi araiSviaTia `ciuri borblis~ `ganmkveTi borblis~ da misT. xseneba. zemoCamoTvlili mianiSnebs, rom borblis ideis safuZveli Zveli (pirvelyofili) adamianis religiur SexedulebebSia gamyarebuli. axla upriani iqneba im sakiTxis gaSuqeba Tu ra saxis Tvlebs amzadebdnen uZveles warsulSi. arqeologiur masalaze dayrdnobiT SeiZleba davaskvnaT,

concocted a toy for her child from two circle-shaped punctured objects and a stick inserted between them. The toy resembled a spindler in shape and was the first prototype wheeled machine ever made on earth.” There is also a tendency towards placing the wheel invention theory on a more religious footing. Worshippers of astral bodies, the aboriginal people conceived of only the earth as static. Other planets and stars, along their way of thinking, went round the globe and their own axles. Stone and bronze disks displaying crosses and swastikas are found throughout the length and breadth of Georgia and the world as a whole. Such representations symbolizing the sun and eternal circuit are much in evidence on Georgian folk household utensils, and mostly, on furniture. The deification of the sun and its close Identification with the wheel are recurring themes in mythology too: according to the old Indian tradition, God Indra snatched the wheel from Surias, the God of the Sun to vanquish with it the demons. “Celestial wheel”, “cutting wheel” served as leitmotifs for the North Caucasian myths and legends. All the indications are that the idea of the wheel flowed out of religious beliefs.

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rom ramdenime saxis Tvali (borbali) arsebobda: mTliani Tvali, erTi xisgan damzadebuli; or nawiliani, romelic ori naxevarmTvares mimsgavsebuli nawilisgan mzaddeboda da tyaviT, Semdgom ki brinjaoTi iyo Sekruldamagrebuli; samnawiliani centrSi garanduli ficriT, romelsac gverdebidan momcro naxevarsferos forma hqonda mimagrebuli. aRmoCenili masala adasturebs, rom uZvelesi xanidan borblis fersoze (rkalze) ramdenime fenad tyavi iyo daxveuli da brtyelTava brinjaos grZeli lursmnebiT damagrebuli. es xels uwyobda Tvlis zedapirTan mkvidr moWidebas da dacurebasac uSlida xels. amasTanave, brZolisas Tvlebs Soris moqceul mowinaaRmdeges sagrZnobi ziani adgeboda. III aTaswleulidan motanebuli Tvlis konstruqcia kidev ufro ixveweba, ferso rkinis salteebiT ikvreba, rac zrdis mis mdgradobas. Seswavlil nimuSTa gaTvaliswinebiT aRwerili Tvlebis diametri 60-dan 100 sm-mdea, sisqe ki 3 sm-s Seadgens. savaraudod, es is xanaa rodesac axali yaidis Tvlis forma dgindeba. esaa _ fersoSi gadajvaredinebuli ori ficari, romlis centrSi RerZia gayrili. amgvari Tvlis Seqmna win gadadgmuli nabiji iyo, sagrZnoblad amsubuqebda mis wonas. droTa ganmavlobaSi ficrebi Txeldeboda da, Sesabamisad, matulobda maTi ricxvic. amdenad, gamogonil iqna Tvlis manebiani (`spicebiani~) msubuqi borbali. Zvel samyaroSi moixmardnen 6-8 manian borblebs, rac samxedro

The ancient wheel for which archaeological data is available had several Intriguing variants: a wheel as a complete whole, made of a single piece of wood; a two-segment wheel, consisting of two crescent-shaped planks joined together by leather and later, by bronze fastenings; a three-segment wheel: a complex combination of two semicircles attached to a straight plank on each side. Several swathes of thick leather used to wind around the ancient wheel to give it a better grip. Hostile warriors trapped under military carriages on such wheels were mauled severely, beyond any hope of recovery. Towards the end of the third millenium the wheel came to be framed with metal belt. All the above-listed disks were between 60 and 100 centimeters in diameter and 3 centimeters in thickness. The same epochâ&#x20AC;&#x2122;s newcomer was a wheel made of a sphere and two slats placed crosswise with an axle stuck through the center of the crosspiece. The novel wheel whose number of slats gradually increased at the expanse of breadth, proved a success and later even set the trend: a relatively light, segmented wheel which eventually burst upon the scene consisted of 6-8 or more spokes and was mainly designed to make light work of military exercises. Since diskmaking was quite an involved process technology-wise, and required exceptional skill, the uses to which the coaches on such technically

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saqmes ukavSirdeboda. samxedro (saomari) etlis maRali manevrireba ganpirobebuli swored msubuqi TvlebiT miiRweoda da rTul teqnologiur process gulisxmobda. amitom, mravalmaniani Tvlebi samxedro saqmesa da aristokratTa momsaxurebisas gamoiyeneboda. ibadeba kiTxva, ramdeni Tvali hqonda Tavdapirvel sazidrebs? mecnierTa Tvalsazrisi (aqac) sxvaobs: erTni sawyisad orTvlians miiCneven, meoreni ki oTxTvlians emxrobian. amis dasabuTeba is gaxlavT, rom orTvala konstruqcia ufro rTulia teqnikuri TvalsazrisiT. angariSgasawevia mosazreba, rom pirvelSeqmnili sazidrebi mxolod sayofacxovrebo datvirTvis iyo, arc did siswrafesa da arc manevrireba-moqnilobas iTxovda. imavdroulad, arqeologiuri gaTxrebisas napovni Sumeruli maketebi da kedlis mxatvrobis SemorCenili nimuSebi orive saxis artefaqts gvidastureben. herodotes (Zv.w. V s.) gadmocemiT skviTebs eqvsTvliani urmebic hqoniaT. sad da rodis gamoigones Tvali da oTxTvala? am Temas didi xania utrialebs samecniero azri. pirveli xelSesaxebi nakvalevi IV aTaswleuliT TariRdeba, rac sruliad ar gamoricxavs mis ufro adreul epoqaSi arsebobas. cnobilia, rom xe niadagSi didxans ver Zlebs. amdenad, safiqrebelia, rom uZvelesma etlebma da Tvlebis nimuSebma dRemde ver moaRwia. erTi ki cxadia _ Zvel aRmosavleTSi etlebis arseboba droSi win uswrebs araerTi saxelmwifos Camoyalibebas.

advanced wheels could be put were whittled down to military purposes and the needs of royal court and aristocracy. Carriages on seamless wooden wheels thus survived. Scientists are divided over whether to put the number of ancient carriage wheels at 2 or 4. Those contending the proto-carriage had 4 wheels, build their theory upon the fact that technically, a two-wheel carriage is harder to be constructed. The base of this thought may run true, since, the evidence exists, carriages anciently were largely applied for economic rather than military reasons that put no specific demand on high speed and rapid maneuver. There are both types of carriages and small-size scale models unearthed through archaeological excavations, or depicted in murals. Herodotus, the author of V century BC even goes so far as to assert that the nomadic Scythians had use for six-wheel carts as well. When were the first wheel and carriage invented? this question still offers much food for scientific reflection. The oldest extant wheels and their representations are dated IV century BC but it cannot entirely exclude the possibility that the wheel existed in much earlier days in history. Since wood does not keep intact for long in earth, it may well be that original primordial carriages and wheel remains did not simply come down to us. What leaves no room for doubt is the fact that the wheel had existed long before most states in the ancient east were established.

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kamaTis miuxedavad mecnierebi im azrs emxrobian, rom pirveli uZvelesi sazidrebi da Tvlebi erTdroulad evraziuli kontinentis ramdenime adgilas unda gaCeniliyo. arian isinic, vinc am mosazrebas ar eTanxmeba. yvelaze misaRebi albaT is azria, romelsac Caildi axmovanebs _ procesi iq unda Casaxuliyo, sadac tyis masivebTan erTad, ganviTarebuli metalurgiac arsebobda. mecnieris azriT oTxTvalas damzadebis teqnologia uciloblad iTxovda ganviTarebuli brinjaos iaraRebis arsebobas. am mosazrebaze dayrdnobiT Caildi askvnis, rom Tvlis (borblis) samSoblod dasaSvebia CrdiloeT SuamdinareTi da zagrosis mTianeTi miviCnioT. am ideas adasturebs is faqtic, rom mesame aTaswleulis meore naxevridan saziduri da Tvali kavkasiaSi, iransa da Sua aziaSic gvxvdeba. III-II aTaswleulis mijnaze misi naSTebi Cans kretaze, evropaSi, volgispireTSi da sxv.; xolo mogvianebiT, cimbiris samxreTsa da CineTSi. ganviTarebis amgvari mimdevroba naTlad migvaniSnebs misi warmoSobis monocetrizms.

The birthplace of the wheel and carriage was also bound to cause considerable controversy. The idea that the wheel made its first appearance simultaneously at several places did not gain ground and was overruled by a Childâ&#x20AC;&#x2122;s more forceful theory confining the putative homeland of the wheel and carriage to the north of Mesopotamia and Zagros Region. The sound base behind this theory is unprecedented level of craftsmanship in metalwork throughout these areas and abundance of woods, both essential elements of the development of the wheel and carriage. The Caucasus, present-day territory of Iran and Central Asia have preserved the remains of the wheel and carriage of about second half of the 3rd millennium BC. At some time between 3000- 2000 BC carriages occurred on the island of Crete, western Europe and in the neighborhoods of the Volga River, later in Siberia and China. The given succession of the wheel and the carriageâ&#x20AC;&#x2122;s penetration of the world is also indicative of their rigidly monocentric origin.

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poeti da gavlenebi A poet and influences Tu Segwevs Zala brboSi iyo da darCe kacad mefeebs axlde da gaxsovdes maradJams xalxi Seni Rirseba ar dakargo, arodes, arsad mter-moyvaresTan pirdapiri iyo da laRi. Tu Segwevs Zala gaiazro yoveli wuTi, azriT datviro samocive fexmardi wami maSin Senia Svilo Cemo es miwis burTi adamianic maSin gqvia, da gerqvas _ amin!

If you can talk with crowds and keep your virtue, Or walk with kings – nor lose the common touch; If neither foes nor loving friends can hurt you; If all men count with you, but none too much; If you can fill the unforgiving minute With sixty seconds’ worth of distance run – Yours is the Earth and everything that’s in it, And – which is more – you’ll be a Man my son!

radiard kiplingi, Targmna murman lebaniZem

Rudyard Kipling

*** saqarTveloSi `gavlena~ erT-erTi yvelaze saxifaTo sityvaa. am sityvis xsenebaze, poets, reJisors Tu mxatvars, yvelas Tma yalyze udgeba. TiTqos `gavlena~ imas niSnavdes, rom xelovani brmad, ufantaziod da gauazreblad baZavdes winamorbeds. Tumca, arseboben didi moazrovneebi, romlebic am `gavleniT~ amayoben da pirdapir asaxeleben STagonebis wyaros. amiT migviTiTeben im ugrZes jaWvze, romelic Tanamedroveobasa da xelovnebis gariJraJs Sorisaa gabmuli. murman lebaniZem kargad icoda ra kavSiri SeiZleboda yofiliyo mis pirovnul niWierebasa da poeziis istoriis siRrmiseul codnas Soris...

*** “Influence” is one of the most unwelcome words in Georgia. When mentioned, it brings shivers to the spines of poets, filmmakers or painters alike, as if “influence” meant that artists copy their precursors blindly, without any imagination or thought process. But there are also great thinkers who are proud of this “influence”, and openly name their sources of inspiration. With this, they point to the long chain connecting our modern times to the dawn of art. Murman Lebanidze knew very well what kind of connection could exist between his personal talent and the profound knowledge of poetry’s history…

*** albaT, TavisTavad cxadi da bunebrivic unda iyos, Tuki poetis Sefasebisas, pirvel rigSi mis leqsebze visaubrebT... gavlenebs ki nakleb yuradRebas mivaqcevT, radgan, erTi SexedviT, vinmes SemoqmedebaSi gavlenis aRmoCena, imaze migvaniSnebs, rom poeti sxvis naval gzas meored gadis, yamir miwas ufrTxis... amas `logikuri~ daskvnac mosdevs _ poetis SemoqmedebaSi `gavlenis~ arseboba individualuri xmis simwires niSnavs.

*** If we want to appraise a poet, it would probably only be natural to start with his poems themselves… As for influences, we will, at first, be paying less attention to them, because at first sight, discovering an influence in the works of a poet indicates that he is taking a road that has already been taken, avoiding virgin lands… And a “logical” deduction might come out of this – that the existence of influence in a poet’s work is a sign of his lack of an individual voice. But there is a more interesting way to analyze poetic creation than the abovementioned syllogism – a way that involves the examination of the work’s influences themselves. When you think about it, the path taken by poetry is nothing more than a history of poetic influences.

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Poetry always manifests and establishes itself in traditions, and poets too grow from their depths; and through this relation and friction with traditions, poets create their own voices. An audience wouldn’t want to listen to those who shout or “sing” in a way that sounds like others, but to those who know how to make you feel emotions, be it with a weak, or even a husky voice. Poets too convey their message through their knowledge of tradition, because just like singers, they have studied and gathered the techniques, images, or phrases that tradition comprises, and with which they can express feelings. This is what one should mean by “influence”, and not a similarity due to mere imitation – though every poet should naturally get over the latter in their youth and then get immune to it, just like it is with infectious diseases. *** They say that nothing can come out of nothing, and poems are no exception. Indeed, if we see the images created by poets through the lens of everyday clichés, they can be considered as a sort of medium that conveys personal feelings through poems. It is precisely on the basis of superficial representations like “to write poems, a poet doesn’t need anything but God-given talent” that people often consider that in order to write a poem, one only needs poetic talent and zealous work. In truth, what is there to be said?! The combination of talent and work brings us to such general truths that it is difficult to come up with something specific… Aren’t work and talent both very vague notions? The work of a poet cannot be reduced to merely counting syllables and making lines rhyme, can they?!

magram, garda zemoxsenebuli `silogizmisa~, arsebobs poeturi Semoqmedebis gaazrebis ufro saintereso xerxi, romelic swored rom gavlenebis gaazrebas gulisxmobs. dafiqrebisas vxvdebiT, rom poeziis ganvlili gza sxva araferia, Tu ar poeturi gavlenebis istoria. poezia yovelTvis tradiciaSi ibadeba, yalibdeba da poetebic misi romelime wiaRidan amoizrdebian xolme; da masTan urTierTobasa da paeqrobisas sakuTar xmas qmnian. Semfasebeli imas ki ar ujerebs, vinac gahyviris an sxvisgan arafriT gamorCeulad `mReris~, aramed imas vinc icis rogor gagrZnobinos susti an Tundac CaxleCili xma. poetebic tradiciis codnis saSualebiT gvagebineben TavianT saTqmels, radgan msgavsad momRerlisa, maTac Seswavlili da Segrovebuli aqvT masSi arsebuli poeturi xerxebi, xatebi, Tu frazebi romelTa saSualebiTac grZnobebis gamoxatva SeiZleba. swored es igulisxmeba gavlenaSi da ara ubralo mimbaZvelobiT gamowveuli msgavseba, romelic ra Tqma unda yvela poetma axalgazrdobaSive unda moixados `saxadiviT~.

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*** naTqvamia, rom araferi mxolod arafris mSobeli Tu SeiZleba iyos, amitom gamonaklisad arc leqsi unda CavTvaloT. marTlac, poetis mier Seqmnil xats yoveldRiur kliSeebSi Tu movaqcevT, igi erTgvar mediumad SeiZleba warmovidginoT, romelic leqsebis saSualebiT pirad grZnobebs gviziarebs. poets leqsebis dasawerad araferi sWirdeba `RvTiTboZebuli niWis~ garda; swored amgvari zerele warmodgenis safuZvelze xSirad Tvlian, rom leqsis dasawerad mxolod poeturi talanti da Tavdauzogavi Sromaa saWiro. marTlac, ra SeiZleba Tqva?! _ niWierebisa da Sromis SenivTeba, imdenad zogad WeSmaritebasTan gvaaxlovebs, rom Znelia raime konkretuli moifiqro... magram, rogorc ukve vTqviT, Sromac da talantic gana Zalian farTo cnebebi araa? poetis Sroma oden marcvlebis TvliTa da striqonebis gariTmviT xom ar Semoifargleba?! poeziis istoria Tu romelime konkretuli leqsis (Tu leqsi WeSmariti poeziaa da ara ubralod grZnobaTa korianteli) analizi, TvalsaCinos xdis, rom poeziis saboloo Sedegi srulebiTac ar aris pirovnuli, piriqiT leqsebi individualuris daZlevis xarjze iwereba. maTSi saukunovani gamocdileba da Tanamedroveoba erTmaneTs erwymis. amasve amtkicebs poetTa biografiebi, romelebic gviCveneben cxovrebiseuli gamocdilebisa da niWierebis garda, raodeni erudiciiT gamoirCeodnen isini... poetis ganaTleba da literaturuli Tu filosofiuri tradiciis codna mxolod dRes gaxda gasakviri. *** murman lebaniZe araTu malavda im SemoqmedTa vinaobas, romelbmac masze gavlena moaxdines, aramed Tavadve Seadgina da dagvitova im poetTa leqsebis araerTi krebuli; manve itvirTa maTi gamocemac (sxvaTa Soris, sagamomcemlo saqme misi erT-erTi umniSvnelovanesi gataceba iyo da Zalian kargadac flobda mas). sicocxlis bolos manve gamosca qarTuli poeziis krebuli – saxelwodebiT `Sedevrebi~ _ romlis pirvel or tomSi Tavi mouyara leqsebs opizari mgosnidan ioseb noneSvilamde, mesame tomi ki mTlianad xalxur poezias dauTmo. am araCveulebrivi samtomeuliT man aramarto Tavisi poeturi gemovneba gagvando, aramed Cvens samsjavroze yvela is SesaZlo gavlena gamoitana, romelic mas qarTulma poeziam misca. miuxedavad imisa, rom qarTveli mgosnebi tradicias did pativs scemdnen, amgvari damokidebuleba winamorbedTadmi, qarTul sinamdvileSi, arc manmade da arc mere TiTqmis aRar gvxvdeba. mas arasdros SeSinebia gavlenebis, radgan isini misi poeziis wyaro iyo. murmans kargad hqonda gacnobierebuli, rom tradicia da gavlena, srulebiTac ar aris advilad SesaZeni, mas veravin gadmogcems

The history of poetry, or the analysis of any specific poem (if the poem is a true poem, and not a whirlwind of emotions) make it clear that the final outcome of poetry is not personal at all – on the contrary, poems are written when individuality is overcome. Modernity and a centuries-long experience are combined in them. This also shows in the biographies of poets, which teach us that apart from their life experience and talent, they stood out with their erudition… It is only recently that a poet’s education and knowledge of literary or philosophical traditions has become surprising. *** Murman Lebanidze wasn’t hiding the identity of the authors who had an influence on him; on the contrary, he compiled and left us several collections of their poems. He also published them himself (by the way, publishing was one of his greatest passions, and he was very good at it). Towards the end of his life, he published an anthology of Georgian poetry called “Masterpieces”. In the two first volumes, he gathered poems from the Opizian poets to Ioseb Noneshvili, and he fully dedicated the third volume to folk poetry. With this outstanding three-volume anthology, he not only entrusted us with his poetic taste, but offered to our judgement

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memkvidreobiT. Tu Tavdauzogav Sromaze gvaqvs saubari, swored rom tradiciis mopovebas, SenarCunebas da Sesisxlxorcebas sWirdeba is. amitomaa, rom mis SemoqmedebaSi Cans, araTu poeturi memkvidreobis mTeli wyeba, aramed daufaravi siyvaruli da mowiweba tradiciisadmi. amis gamo, murman lebaniZe qarTuli peoziisTvis is figuraa, romelic aRar Semoifargleba mxolod lirikosis an epikosis wodebiT. vfiqrobT rom, meoce saukunis meore naxevarSi ar moiZebneba sxva qarTveli poeti, romelic am or formas aramarto Tanabari ostatobiT flobda, aramed maTi gaerTianebac SeZlo. igi wlebis ganmavlobaSi agrovebda, amuSavebda, axarisxebda qarTuli poeziis gamorCeul nimuSebs, rasac Tan erTvoda araCveulebrivad nayofieri mTargmnelobiTi saqmianobac _ kiplingis, bernsis, iaponuri Tu rusuli poeziis umaRlesi xarisxis Targmanebi. es ar yofila ubralod Semgrovebloba, Targmna an daxarisxeba, am saqmes ufro Sorsmimavali miznebi hqonda _ erTis mxriv poeturi arsenalis sacavSi Tavmoyra da meores mxriv am saqmiT (sxva mkvlevarebTan Tu poetebTan erTad) Tanamedrove qarTuli poeziis kanonis Seqmna! es ki ise gajda Cvens cnobierebaSi, rom kiTxvasac ar gvitovebs,

all the possible influences that Georgian poetry had on his works. Despite the fact that Georgian poets were very respectful of tradition, this kind of attitude towards one’s predecessors can almost never be found in Georgian literature, be it before or after “Masterpieces”. Murman Lebanidze was never afraid of influences, because they were the very source of his poetry. He had very well understood that tradition and influence are not easy to acquire, that they cannot be inherited. If we are talking about zealous work, it is precisely in order to find, preserve and give substance to tradition that it is needed. This is why his works show not only the whole range of poetic heritage, but also an unconditional love and admiration towards traditions. Because of this, Murman Lebanidze is a figure of Georgian poetry who cannot be confined to a lyric or epic author. We think that there is no other Georgian poet from the second half of the 20th century who not only mastered various genres of poetry with the same proficiency, but could also combine them. For years, he was gathering, processing and classifying the finest instances of Georgian poetry, which were accompanied by translations of the highest quality – of Kipling, Burns, Japanese and Russian poetry. But it wasn’t only about gathering, translating and collecting poems: Murman’s work had more far-reaching goals – on the one hand, to preserve these poems, and on the other hand (together with other scholars

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Tu vin ra wvlili Seitana am kanonis CamoyalibebaSi da ratom vasaxelebT klasikosebad garkveul avtorebs da ara sxvebs. am `sacavSi~ dacul xatebs sakuTar SemoqmedebaSi maSin iyenebda, rodesac azri moumwifdeboda da srulyofili leqsis daweris Jini mouvidoda. am mizeziT misi leqsi wlidan wlamde ukeTesi da ukeTesi xdeboda. *** meoce saukunis qarTul poeziaSi, yvelaze mniSvnelovani saxeli galaktion tabiZe romaa, amaze (TiTqmis) aravin kamaTobs. Tumca, sicocxleSi galaktions mweralTa da poetTa sazogadoeba (ufro swored `mweralTa kavSiri~) srulebiTac ar Tvlida im rangis poetad rogoradac mas axla Tvlian. maSin igi ufro niWieri marginalis saxeliT sargeblobda, vidre geniosisa... mas axali Taobis poetebi ufro afasebdnen vidre Tanadrouli literaturuli

and poets), to establish the principles of modern Georgian poetry! And this has set foot in our consciousness so well, that we don’t need to ask ourselves who accomplished what for the formation of these principles, or why a specific author is considered to be a classic one, and not others. He would use the imagery preserved in this “fund” only when an idea had become fully ripened, and when he had the urge to write a wholesome poem. Thanks to this, his poems were becoming better and better with each year. *** Nobody (or almost nobody) argues against the idea that the most important figure of Georgian poetry in the 20th century is Galaktion Tabidze. But while he was alive, the Writers’ Union didn’t consider him a poet of the rank he is now recognized for. At that time, he was known more as a talented fringe element than as a genius... He was more praised by younger poets than by his contemporary critics. In his book

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kritika. vaxtang javaxaZe wignSi `ucnobi~ ambobs, rom adamianebs uWirdaT `baxussdamegobrebuli~ poetis dakavSireba im leqsebTan, romelTa kiTxvaSic SesaZloa Rameebic uTenebiaT. galaktionis gardacvalebis Semdeg, erTma saxelovanma poetma Tqva _ `ar megona aseT karg leqsebs Tu werdao~. cisferyanwelebis didi nawili Tu sxva dafasebuli qarTveli mwerlebi Tavs aridebdnen masTan urTierTobas... TviTmkvlelobamde ramdenime saaTiT adre, konstantine gamsaxurdia Sexvedria `leCkombinatis~ derefanSi, sasowarkveTils xeli gauwvdia CamosarTmevad, Tumca konstantines ar SeumCnevia, ar misalmebia da Tavic auridebia. cota xnis Semdeg poetma saavadmyofos fanjridan `gadaabija~ da... meoce saukunis udidesi qarTveli poetis sicocxlem cinikur atmosferoSi gaiara da cinikuradac damTavrda. naTqvamia, rom sanTel-sakmeveli gzas ar dakargavso... galaktionic adre Tu gvian dafasdeboda (rogorc nikoloz baraTaSvili), Tumca dRes, rom galaktion tabiZes meoce saukunis yvelaze mniSvnelovan poetad vaRiarebT murman lebaniZis da vaxtang javaxaZis damsaxurebacaa. `leCkombinatis~ Semdeg ki mainc gasarkvevi iyo Tu vin an poetTa romeli jgufi imemkvidrebda

‘Stranger’, Vakhtang Javakhadze writes that it was difficult for his fellow poets to associate the drunkard Galaktioni with the poems on which they were sometimes spending sleepless nights. After Galaktioni’s death, a renowned poet said: “I didn’t know he used to write such good poems”. A large part of the Blue Horns (a group of Georgian Symbolist poets) or other famed Georgian writers were restraining from interacting with him... A few hours before he killed himself, the desperate poet stumbled into Konstantine Gamsakhurdia in the corridor of the “Lechkombinat” (health facility), and offered him a handshake; but Konstantine didn’t notice him, didn’t shake his hand, and walked away. A little later, the poet “stepped” out of the window of the hospital, and… the life of the greatest Georgian poet of the 20th century, which had taken place in a cynical atmosphere, ended in a cynical way. Galaktioni would be properly appreciated sooner or later (just like Nikoloz Baratashvili), but if today, we acknowledge Galaktion Tabidze as the most important Georgian poet of the 20th century, it is thanks to Murman Lebanidze and Vakhtang Javakhadze. After the “Lechkombinat” episode, the question arose as to who or which group of poets would continue walking in the innovative steps of Galaktioni, and it was precisely Murman Lebanidze and Vakhtang Javakhadze who were some of the firsts to notice the peculiarity of his poetic system, and who introduced features from Galaktioni’s poetry in their own. But Galaktioni wasn’t the only source of inspiration for the young poet’s works. Murman created his own style on the basis of the Georgian poetic tradition, in which the principles of epic and lyric poetry are harmoniously combined. But this remarkable association of the heroic and the subjective didn’t only originate from Galaktioni. The latter was more linked to the lyrical part, while the heroic motives were coming from Lado Asatiani, another poet who wasn’t properly appreciated during his life. Lebanidze also considered Georgian folk poetry to be very subtle and rich, and manages to unify these two literary genres with remarkable modesty and simplicity. Murman managed to create a unique kind of poetry by both studying tradition and carrying out poetic experiments, providing his works the lyricism of Galaktioni’s ‘Meri’, the heroic spirit of Lado Asatiani’s ‘Krtsanisi’s Poppies’, and the simplicity of folk poetry. *** Murman Lebanidze is a traditional poet. This traditionalism doesn’t stop at his allegiance to “traditional views”. He knew very well that the greatest appraiser of a poet isn’t some specific critic or institution, but time and history. Towards the end of his life, the poet took part in the planning and adoption of a law (which is now abolished), according to which no Georgian writer or public figure could be buried at the Mtatsminda Pantheon right away, and it was only 20 years after their death, if at that time, society still deemed the public figures and their legacy significant enough, that the doors of the Pantheon would be opened to them... Murman Lebanidze passed in 2002; he is buried at the Didube Pantheon. Levan Shatberashvili

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`lurja cxenebis~ Semqmnelis novatorobas. swored, murman lebaniZem da vaxtang javaxaZem, erT-erTma pirvelebma SeamCnies misi leqsTwyobis gansakuTrebuloba da TavianTi poeziac galaktionis geziT waiyvanes. galaktioni ar yofila axalgazrda poetis poeziis erTderTi fuZe-wyaro. murmanma qarTuli poeturi tradiciis safuZvelze Seqmna miseuli stili, romelSiac epikuri da lirikuli sawyisebi erTurTs Seuxama. Tumca, gmirulisa Tu subieqturis es gansakuTrebuli kavSiri mxolod galaktionis gavleniT ar Semofarglula. gala ufro lirikul sawyiss gansazRvravda, heroikuli da sagmiro motivebi ki lado asaTianidan mosdioda, poetisgan, romelic Tavis droze aseve naklebad iyo dafasebuli qarTvelTagan. lebaniZisTvis saTuTi, bevris momcemi iyo qarTuli xalxuri poeziac, romelic gansakuTrebuli sisadaviTa da simartiviT aerTianebs am or literaturul Janrs. tradiciis kvlevisa da poeturi Ziebebis safuZvelze Seqmna murmanma unikaluri poezia, romelic anivTebs

`meris~ lirikulobas, `krwanisi yayaCoebis~ gmirul suliskveTebasa da xalxuri poeziis sisadaves. *** murman lebaniZe tradiciuli poetia. es tradiciuloba mxolod `tradiciuli Sexedulebebisadmi~ erTgulebiT ar Semoifargleba. mas kargad esmoda, rom poetis yvelze didi msajuli, ara romelime konkretuli kritikosi an dawesebuleba, aramed dro da istoriaa. sicocxlis miwuruls poetma monawileoba miiRo kanonproeqtis ganxilva/miRebaSi (amJamad ukve gauqmebulis), romelis mixedviTac qarTvel mweralTa da sazogado moRvaweTa mTawmindis panTeonSi pirdapir aRaravin daikrZaleboda da, mxolod gardacvalebidan 20 wlis Semdgom, Tu sazogadoeba, eri kvlav mniSvnelovnad CaTvlida am adamianis Rvawlsa da saxels, mTawmindis kari gaiReboda... murman lebaniZe 2002 wels gardaicvala; dakrZalulia didubis sazogado moRvaweTa panTeonSi. levan SatberaSvili

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`profesionali~ msmeneli dramatuli Tu saopero Teatri mraval komponents moicavs _ dramaturgs, kompozitors, diriJors, reJisors, mxatvars, msaxiob/Semsruleblebs... da mayurebels. swored man unda unda Segafasos, migiRos, an arc. maT Soris gamorCeuli da gansakuTrebiT pretenziuli saopero xelovnebis msmenelia. dRes, darbazSi SesulT xSirad gxvdeba nacnobi saxeebi, romelnic ici, rom ara Tu premieras, rigiT speqtaklsac ar acdenen. TiToeuli maTganis maxsovroba unikaluria. maTTan gasaubreba Cveni pirveli mcdelobaa imisa, rom ar daikargos es kultura, profesionali mayurebeli. respondentebad momRerali imer kavsaZe da msmeneli irakli ruxaZe avirCieT...

"PROFESSIONAL" AUDIENCE Drama or opera theater consists of many components – dramaturgy, composers, conductors, directors, stage designers, actors/performers… and the audience. The latter is the one that has to appraise you, accept you – or not. Among the audience, there are particularly demanding opera enthusiasts. Today, you can often meet familiar people at the theater, and you know that they never miss any spectacle – let alone premieres. The memory of each of them is unique. Talking to them is our first attempt at preserving this culture of a professional audience. We chose singer Imer Kavsadze and fervent listener Irakli Rukhadze…

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irakli ruxaZe: Cemi maxsovroba sabWoTa periodsac moicavs. ganvlili wlebi saSualebas maZlevs Sevadaro ra iyo maSin da ra aris axla. kultura komunistebTan ideologiis nawili iyo da didi yuradRebac eqceoda, Sesabamisad saopero xelovnebasac. gavixsenoT, Tundac repertuari da misi mravalferovneba, saopero da sabaleto speqtaklebis monacvleoba. pirvel rigSi, maxsendeba qarTuli repertuari _ àbesalom da eTeri~, `daisi~, `qeTo da kote~, `kako yaCaRi~, `baSi-aCuki~, `didostatis marjvena~; aseve 1957 wels moskovis dekadisTvis dawerili daviT ToraZis `CrdiloeTis patarZali~, romelic maleve moixsna repertuaridan, albaT, samarTlianadac. iyo sabavSvo speqtaklebic _ `CxikvTa qorwili~, `nacarqeqia~, `wiTelquda~, `daupatiJebeli stumrebi~ da isinic did scenaze midioda, mcire darbazi operas arasdros hqonia. speqtaklebi ra sixSiriT gadioda? imer kavsaZe: Teatri orSabaTs isvenebda da speqtaklebi samSabaTidan iwyeboda _ Tu pirveli iyo baleti, oTxSabaTs opera mosdevda da a.S. kviras ki dilis speqtaklic emateboda. es dadgenili wesi iyo. afiSa rom genaxaT, speqtaklTan erTad yovelTvis iyo gamowerili SemsrulebelTa Semadgenlobac. tradiciulad, sezoni àbesalomiT~ ixsneboda da `daisiT~ ixureboda. es wesi erTxel Tu orjer dairRva da sezoni `didostatis marjveniT” daixura. ras efuZneboda repertuari? i.r. istoriulad, italiis an safrangeTis TeatrebSi Tu daidgmeboda raime opera, ori-sami, maqsimum xuTi wlis Semdeg mas aucileblad dgamdnen TbilisSic. amitom, Cveni Teatri, qarTuli erovnuli operis Seqmnamde, umTavresad italiur repertuars efuZneboda da msmenelmac yvelaze metad is Seiyvara. Cvens drosac, qarTulTan erTad, repertuaris birTvs italiuri da rusuli operebi Seadgenda, naklebad franguli. ar maxsovs, romelime maTganisTvis prioriteti mieniWebinoT, maSin amaze arc vfiqrobdiT... mTavari mravalferovneba iyo da radgan speqtaklebi yoveldRe gadioda, amis fufuneba gvqonda. i.k. TeatrSi gadioda yvela is didi tilo, romelic rusul musikaSi Seqmnila, maT Soris, Caikovskis èvgeni onegini~, ~pikis qali~; musorgskis `boris godunovi~, `xovanSCina~ da sxv. xolo XX saukunis musikidan prokofievis sami opera _ es speqtaklebi imdenad kargad daidga, rom `cecxlovani angelozi~ da `niSnoba monasterSi~ germaniaSi prokofievis festivalzec waviReT. qarTuli vokaluri skola belkantos safuZvlebze idga? i.r. pirveli pedagogebi, iseTi koriefeebi, rogorebic

Irakli Rukhadze: I can still remember the Soviet period. Many years of experience allow me to compare the situation of that time to that of today. With communists, culture was part of ideology, and they were paying a lot of attention to it, including to opera. Let us remember, for instance, the diversity of the repertoire back then, the variety of operas and ballets. In the first place, I am reminded of the Georgian repertoire – ‘Abesalom and Eteri’, ‘Daisi’, ‘Keto and Kote’, ‘Kako the Robber’, ‘Bashi-Achuki’, ‘The Right Hand of the Grand Master’; among them, there was David Toradze’s ‘Northern Bride’, which he composed for the 1957 Mosow Art Decade and was soon removed from the repertoire, which was probably a right thing to do. There were also pieces for children (‘Jays’ Wedding’, ‘Natsarkekia’, ‘Little Red Riding Hood’, ‘Uninvited Guests’), which were also performed in the large hall – the opera never had a small hall. How often were spectacles performed? Imer Kavsadze: The theater was resting on Mondays, and the first spectacle would be performed on Tuesday – if the first one was a ballet, an opera would follow on Wednesday, and so on. As for Sundays, they also included a spectacle in the morning. This was the established schedule. The names of the performers were always included on the spectacles’ posters. Traditionally, the season was opening with ‘Abesalom and Eteri’, and closing with ‘Daisi’. This rule was only broken once or twice, when the season was opened by ‘The Right Hand of the Grand Master’. What was the repertoire based on? I.R. Historically, if an opera was arranged in some theater in Italy or France, it would never fail to be staged in Tbilisi, mainly after two to three years, maximum five. Therefore, before the foundation of the Georgian Opera, operas were mainly based on the Italian repertoire, and it also became the audience’s favorite. During our epoch, together with Georgian works, the repertoire included Italian and Russian operas, and to a lesser extent, French ones. I don’t remember one being considered as more important than another, we weren’t thinking about this at that time… The most important was diversity, and because spectacles were performed on a daily basis, we had the luxury to stage a variety of them. I.K. All the great classics that were created in Russian music were performed at the theater, including Tchaikovsky’s ‘Eugene Onegin’, ‘Queen of Spades’; Mussorgsky’s ‘Boris Godunov’, ‘Khovanshchina’, and others. As 20th century music, we performed three operas by Prokofiev – these spectacles turned out so good that we traveled to the Prokofiev Festival in Germany with ‘The Fiery Angel’ and ‘Betrothal at the Monastery’. Was the Georgian vocal school based on bel canto? I.R. The first tutors, outstanding individuals such as Olga Bakhutashvili-Shulgina, Valerian Kashakashvili, Sandro Inashvili, and Davit Andghuladze were acquainted with the foundations of

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iyvnen olga baxutaSvili-Sulgina, valerian qaSakaSvili, sandro inaSvili, daviT andRulaZe naziarebi iyvnen belkantos safuZvlebs. mogvianebiT es swavleba mecnierul doneze nodar andRulaZem aiyvana; da, zogadad, vokalis Teoriis garda, sxva disciplinur codnasac iTxovda. nel-nela gamoCnda pedagogebis axali pleada. erT-erTi guliko qarTveliSvili iyo, romelic aucileblad unda vaxsenoT, misi aRzrdilebi arian maia TomaZe da manana egaZe, axla am xazs anita raWveliSvili agrZelebs. i.k. dRes, yvela qarTveli momRerali rom Sekribo, vinc msoflios TeatrebSi mReris, ramdenime aTeuli saopero dasi Seiqmneba. maT Soris, ra Tqma unda, gamorCeulia nodar andRulaZis Sto. naxeT ramdeni momRerali gazarda Tundac guliko kariaulma, romelic nodaris namowafaria, arafers vambob Tavad mis aRzrdilebze. samwuxaroa, rom Zalian adre, swored maSin, roca pedagogoba unda daewyo, wavida zurab anjafariZe... `didi xmebi~ yovelTvis ibadebodnen aq? i.r. xmebi sul iyo da aris, amas, albaT, Cveni georafiuli mdebareoba da klimati uwyobs xels. ara mxolod scenaze, ojaxebSic SeiZleba unikaluri xarisxis xmebi moismino, Tundac genialuri xmis patroni giguSa kavsaZe, vaniko maWavariani da a.S. maT Soris ki vinc konservatoria daamTavra, iyvnen namdvili `msoflio xmebic~ _ `rkinis fardis~ miRma rom gaecnoT, vin icis ra simaRleebs miaRwevda daviT gamrekeli. magram maSin, Caketil sivrceSi vcxovrobdiT da xmebis gadineba ar xdeboda. yvelaze meti, risTvisac SegeZlo migeRwia moskovSi, `did TeatrSi~ simRera iyo. ar yofila periodi, rom iq qarTvels ar emRera, mravali weli tenoris partiebis mTavar Semsruleblad xom zurab anjafariZe da zurab sotkilava hyavdaT. saerTod... Teatrs Zlieri tenori Tu ar hyavs, is sustia. i.k. daviT gamrekelze rom araferi vTqvaT, romelTan erTadac `daisSi~ mimReria, petre amiranaSvilTan `rigoletosa~ da `traviataSi~ gamovdiodi. igi fantastikuri rigoleto da amonasro iyo. mTel Tbiliss uyvarda baTu kraveiSvili, gansakuTrebiT filmis `qeTo da kotes~ Semdeg. Semdeg TaobaSi genialuri xmis patronebi iyvnen rezo kakabaZe da rezo lagvilava _ vgulisxmob RmerTis boZebuls, Torem miRweviT SeiZleba sxvam metsac miaRwia. axla iseT momRerlebs aqvT msoflio titulebi, romlebsac im dros Znelad miscemdnen meorexarisxovan partiebsac ki. gvyavda didi banebic, Tengiz muSkudiani, irakli SuSania, petre TomaZe.

bel canto. Later, Nodar Andghuladze brought this education to a scientific level; and, in general, apart from vocal theory, it required the knowledge of other disciplines. Little by little, a new group of tutors appeared. One of them was Guliko Kartvelishvili, whom we should not fail to mention; she raised Maia Tomadze and Manana Egadze, and Anita Rachvelishvili is continuing this tradition. I.K. Today, if you gather all the Georgian singers who are singing in theaters worldwide, you could create several dozens of opera troupes. Among them, naturally, Nodar Andghuladze’s branch stands out. Look at how many singers were raised, for instance, by Guliko Kariauli, who was a student of Nodar – and I am not even speaking of his own students. It is very unfortunate that Zurab Anjaparidze left us prematurely, precisely when he was about to start teaching himself… Were there always “great voices” in Georgia? I.R. There were always and still are great voices, and perhaps our geographic location and climate play a role in this. You can listen to voices of a unique quality not only on stage, but also in households, for instance Gigusha Kavsadze, Vaniko Machavariani, and others... Among them, those who have graduated from the Conservatoire were world-class voices – if people from behind the Iron Curtain had gotten to know him, who knows which heights Davit Gamrekeli could have attained? But at that time, we were living in a locked-up country, and voices couldn’t get out of it. The most you could achieve was to sing at the Bolshoi Theater in Moscow. There wasn’t any period of time without Georgians singing there, and for many years, the main tenor performers there were Zurab Anjaparidze and Zurab Sotkilava. In general, if a theater doesn’t have a good tenor, it won’t go far. I.K. I won’t talk about Davit Gamrekeli, with whom I sang in ‘Daisi’. I used to perform ‘Rigoletto’ and ‘La Traviata’ with Petre Amiranashvili. He was a fantastic Rigoletto and Amonasro. The whole city of Tbilisi was in love with Batu Kraveishvili, especially after the film ‘Keto and Kote’. In the following generation, Rezo Kakabadze and Rezo Lagvilala had wonderful voices – I mean they had God-given vocal abilities, because in terms of success, others have surpassed them. Today, there are some world-renowned singers who wouldn’t even have been given second parts in those times. We also had great basses – Tengiz Mushkudiani, Irakli Shushania, Petre Tomadze. What about women? I.R. We also had outstanding female singers. I had the chance to listen to Nadia Tsomaia, Nadia Kharadze, and Meri Nakashidze, who was a true nightingale. I was also very impressed by Elizaveta Gostenina’s Aida, whose enormous voice seemed to be coming from the sky. After Gostenina left the theater, the dramatic parts were performed by Gertruda Schmaltzel, but her voice was more lyrical. I can still see Leila Gotsiridze in her Amneris costume, with her fairytale voice and looks. They were followed by a new generation: Natela Tughushi, Lamara Tchkonia, and Medea Amiranashvili, who was so

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qalebi? i.r. qalebis SesaniSnavi skola gvqonda. moveswari nadia comaias, nadia xaraZes, namdvili bulbuli iyo meri nakaSiZe; didi STabeWdileba elizaveta gosteninas aidamac damitova, romlis uzarmazari xma gundsa da orkestris fonze TiTqos zecidan modioda, gosteninas Teatridan wasvlis Semdeg dramatuli partiebi gertruda Smalcelma gadaibara, Tumca, misi xma ufro lirikuli iyo. axlac Tvalwin midgas leila gociriZe amnerisis kostiumSi zRapruli xmiTa da garegnobiT. maT axali Taoba mohyva: naTela tuRuSi, lamara Wyonia, imdenad didi ostati iyo medea amiranaSvili, rom SeeZlo yvelaferi emRera _ dramatuli sopranodan koloraturamde. cisana tatiSvilis dari xma Tavisuflad SeiZleba iTqvas, rom erTi-ors Tu hqonda vokalis istoriaSi. Cemi da, neli ruxaZe mReroda jildas saopero studiis scenaze, me masze umcrosi viyavi da repeticiebze davyvebodi. mexuTe kursze rom iyo, moskovidan komisia Camovida, es omisSemdgomi periodia, `didi TeatrisTvis~, `bolSoisTvis~ saukeTeso xmebs uyridnen Tavs, Cemi da airCies da rodesac meuRlesTan erTad moskovSi mifrinavda, TviTmfrinavi svaneTis mTebSi Camovarda... gastrolze vin Camodioda? i.k. ucxoeli artistebi moskovisa da peterburgis Semdeg TbilisSi Camodiodnen, aseTi iyo maTi sagastrolo turne, SesaZloa yofiliyo kievic. didi momRerlebi Camosulan _ rumineli elena Cernei da nikolae herlea, bulgareli dimitar uzunovi da nikola nikolovi; umTavresad aRmosavleT evropidan, Tumca iyvnen roberta pitersi da jerom hainsi, metropoliten operidan. speqtaklebs vin dgamda? i.r. Teatrs hyavda damdgmeli reJisorebi _ aleqsandre wuwunava, mixeil kvaliaSvili, vaxtang tabliaSvili, romlebic mxatvrebTan _ irakli gamrekelTan, farnaoz lapiaSvilTan, vano askuravasTan muSaobdnen. dgamdnen mowveuli reJisorebic. yofila, rom TeatrSi erTdroulad rva-cxra diriJorsac umuSavia: vaxtang faliaSvils, odisei dimitriadis, didim mircxulavas, zaqaria xuroZes, jemal gokiels, givi azmaifaraSvils, jansuR kaxiZes da sxv. grigol kilaZe erTdroulad konservatoriis direqtori (maSin reqtori ar erqva), saopero studiis direqtori da operis Teatris samxatvro xelmZRvaneli da mTavari diriJoric ki iyo. Semdeg movidnen Tamaz jafariZe da rezo takiZe. ra gza unda gaevlo momRerals operis scenamde? i.k. konservatoriaSi rom Cavabare, pirveli ori weli mxolod vokalis pedagogTan vmecadineobdi. mesame wlidan kameruli simRera da saopero momzadebis kaTedra

talented that she could sing everything – from a dramatic soprano to a coloratura. It can easily be said that only a few women in history had a voice like that of Tsisana Tatishvili. My older sister Neli Rukhadze was singing Gilda’s part on the stage of the Opera Studio, and I was attending the rehearsals. When she was in her fifth year of studies, a commission came from Moscow; this was during the post-war period, and they were looking for the best voices for the Bolshoi. They selected my sister, and when she was flying to Moscow with her husband, the plane crashed in the mountains of Svaneti… Who was touring in Georgia? I.K. After Moscow and Saint Petersburg, foreign artists were coming to Tbilisi, this was their main tour schedule, and they would also sometimes go to Kiev. Some great singers have come here – Romanians Elena Cernei and Nicolae Herlea, Bulgarians Dimitar Uzunov and Nikola Nikolov; they were mainly coming from Eastern Europe, but there were also Roberta Peters and Jerome Hines from the Met Opera. Who was staging the spectacles? I.R. The theater had directors such as Aleksandre Tsutsunava, Mikheil Kvaliashvili, and Vakhtang Tabliashvili, who were working with stage designers Irakli Gamrekeli, Parnaoz Lapiashvili, and Vano Ashkurava. Invited directors would also stage plays. There were times when nine to ten directors were working simultaneously at the theater: Vakhtang Paliashvili, Odysseas Dimitriadi, Didim Mirtskhulava, Zakaria Khurodze, Jemal Gokieli, Givi Azmaiparashvili, Jansugh Kakhidze, and others. Grigol Giladze was the director of the Conservatoire, director of the Opera Studio, and stage designer and main conductor of the Opera Theater, all at the same time! Then there were Tamaz Japaridze and Rezo Takidze.

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gvemateboda da weliwadSi orjer konservatoriis did darbazSi, romelic maSin saopero studias emsaxureboda, operebidan nawyvetebs vmRerodiT. studias Tavisi orkestri, gundi da diriJorebi hyavda. speqtaklebs SoTa aRsabaZe dgamda. pirvelad abesalomi swored masTan vimRere. studia TeatrisTvis gvamzadebda _ erTgvari tramplini iyo, romelic me kargad gamoviyene da TeatrSi aTi mza partiiT mivedi. ase aRmovCndi sul axalgazrda scenaze iulia faliaSvilisa da baTu kraveiSvilis gverdiT `daisSi~. simReris Jini mqonda, sul simRera mindoda da radgan TeatrSi lirikuli tenoris partiebze anastas Cakalidi, amiran gagua da Tengiz zaaliSvilic iyvnen, speqtakli iSviaTad mxvdeboda, Tan mxolod am xasiaTis xmis repertuari xom ar gadioda. amitom, 26 wlisa gorkis TeatrSi wavedi da lirikuli tenoris mTeli repertuari vitvirTe. iq Svidi weli davyavi, Semdeg permSi gadavedi da oTx weliwadSi TbilisSi, didi xniT davbrundi. krakovSi ormocdaTxuTmeti wlisa Cavedi, bevri am asakSi karieras amTavrebs, miT umetes tenorebi, radgan iseT partiebs mReri, rom mxolod kargi vokaluri forma ar kmara... dRes Tanamedrove dadgmebisTvis mzadaa Teatris mayurebeli? i.k. vfiqrob, miiRebs Tuki gamarTlebuli iqneba, yvelaferSi zomierebaa saWiro. Cvens operas ZiriTadad klasikuri dadgmebi hqonda, maSin sxvanairad verc iqneboda, Tumca arc Tanamedrove dadgmebi yofila uaryofili: 80-ian wlebSi gia yanCelma da robert sturuam musikalurad Tu reJisorulad mSvenieri speqtakli `da ars musika~ gaakeTes. man iseTi STabeWdileba moaxdina minskSi, rom gaocebas ver malavdnen, Turme SesaZlebeli yofila amgvari speqtaklis dadgma. am ori wlis win, TbilisSi gavuSviT `karmeni~, romlis moqmedeba reJisorma havanaSi sigarebis fabrikaSi gadaitana, teqstSi ki eskamilio seviliaSi koridaze epatiJeboda xalxs, SeiZleba es pirobiTobaa, magram xom SeiZleboda teqsti mainc Secvliliyo?

What path did singers have to go through in order to arrive on stage? I.K. When I enrolled at the Conservatoire, I only studied with the vocal tutor in the first two years. From the third year, we were also studying chamber singing and preparing for opera, and twice a year, we were singing parts from operas in the large hall of the Conservatoire, which was then part of the Opera Studio. The Studio had its own orchestra, troupe, and conductors. The spectacles were staged by Shota Aghsabadze. It was with him that I first sang Abesalom’s part. The Studio was preparing us for the Theater – it acted as a sort of springboard, one that I have managed to use well, and when I arrived at the Theater, I had 10 parts ready. This is how I found myself on stage for 'Daisi' alongside Iulia Paliashvili and Batu Kraveishvili at a very young age. I had the urge to sing, I wanted to sing all the time, and because there were also Anastas Chakalidi, Amiran Gagua and Tengiz Zaalishvili for the lyrical tenor parts at the Theater, I didn’t get to sing much during spectacles, and what’s more, there wasn’t only lyrical tenor parts in the repertoire. This is why I moved to the Gorky Theater when I was 26, where I took the whole load of the lyrical tenor repertoire. I spent seven years there, after which I moved to Perm, and then returned to Tbilisi for a long period of time after four years. I moved to Krakow when I was 55 years old; many people are finishing their careers at that age, especially tenors, because you sing parts for which a good vocal form isn’t enough… Is the theater audience ready for modern ways of staging? I.K. I think they will receive them quite well if the modern additions are justified – everything needs balance. Our operas were mainly staged in a classic way, it couldn’t have been otherwise at that time, but modern stagings weren’t overlooked either: in the 1980s, Gia Kancheli and Robert Sturua created the spectacle ‘Music for the Living’, which was wonderful, both in terms of music and directing. It was so successful in Minsk, that people couldn’t hide their amazement, so it’s possible to create these kind of spectacles. Two years ago, we staged ‘Carmen’ in Tbilisi, but the director changed the story’s location to a cigar factory in Havana, while in the text of his song, Escamillo invites people at a corrida in Sevilla – perhaps this is not that crucial, but it could at least have been changed in the text, couldn’t it?

qarTuli operebi Tu migqondaT gastrolebze? i.k. 1989 wels germaniaSi prokofievis zemoTxsenebul festivalze `abesalomi~ waviReT. maestro jansuR kaxiZem festivals piroba wauyena, rom monawileobas mxolod im SemTxvevaSi miviRebdiT, Tu prokofievis operebTan erTad qarTulsac CavitandiT. festivali germaniis qalaqebSi esenSi, duisburgSi, gelzenkirxenSi da leverkiuzenSi tardeboda da `abesaloms~ didi warmateba, gamoxmaureba mohyva.

Were you taking Georgian operas on tour? I.K. In 1989, we took ‘Abesalom and Eteri’ to the abovementioned Prokofiev Festival in Germany. Maestro Jansugh Kakhidze told the festival that we would participate in it only if we would bring a Georgian opera alongside those of Prokofiev. The festival was taking place in the cities of Essen, Duisburg, Gelsenkirchen and Leverkusen, and ‘Abesalom and Eteri’ was very successful there.

orkestrze... i.r. Teatrs SesaniSnavi orkestri hyavda, rac misi xarisxis erT-erTi ganmsazRvreli faqtori iyo.

Can you tell us some more about the orchestra? I.R. The theater had a wonderful orchestra, it was one of the determining factors of its quality. The very best musicians were

1 (15) 2019

orkestrSi saukeTeso Semsruleblebi muSaobdnen, pirveli violino, stuperi msoflios nebismier dass daamSvenebda; aseve, vulfi, bendicki, neimanebis ojaxi _ maSin orkestri ZiriTadad odesis darbevas gamoridebuli ebraelebiT dakompleqtda da am maRal klass diriJorebTan erTad, swored es musikosebic ganapirobebdnen.

performing in the orchestra â&#x20AC;&#x201C; the first violin Stuper could have played in any of the best orchestras around the world; there were also Wulf, Benditsky, the Neumann family â&#x20AC;&#x201C; at that time, the orchestra was mainly composed of Jewish musicians who had fled the Odessa Pogrom, so together with the conductors, the high class of the orchestra was achieved by these musicians.

1 (15) 2019

pedagogikis Sesaxeb? i.k. qveyanaSi vokalis swavlebis done pirdapir aisaxeba Teatris doneze. axalgazrdebs aucileblad sWirdebaT gakveTilebi praqtikos momRerlebTan, radgan Zalian cotaa pedagogi, visac Tavad ar umReria scenaze, magram didi codna aqvs dagrovebuli. axalgazrdebTan mec vmuSaobdi _ TbilisSic, gorkSic, krakovSic. axla, roca davbrundi, konservatorias Cemi pirobebi da mosazrebebi SevTavaze, magram maTgan pasuxi jer isev ar mimiRia...

What about tutors? I.K. The level of vocal education in the country has a direct effect on the level of the Theater. Young singers definitely need lessons from experienced practitioners, because there are very few tutors who didn’t sing on a stage themselves and have accumulated great knowledge. I was also working with young singers – in Tbilisi, in Gorky, in Krakov… Now that I have come back, I offered my conditions and suggestions to the Conservatoire, but I didn’t receive any answer yet…

1 (15) 2019

msmeneli? i.k. sabednierod kargi msmeneli gvyavs. miuxedavad imisa, rom Teatri wlebis ganmavlobaSi saremontod iyo daketili da erTgvari wyveta hqonda, operis moTxovnileba ar gamqrala da axla anSlagebia. axali Taobis mosazidad aucilebelia maRali donis dadgmebi, Tundac es jer klasikuri iyos. samomavlod... i.r. axla mTavari gamowvevis winaSe vdgavarT _ Teatri aRorZinebis gzas adgas da TandaTan ufro maRal

And the audience? I.K. Fortunately, we have a good audience. Despite the fact that the theater was closed for many years due to restoration works, and therefore experienced a long period of inactivity, the demand for opera remained at the same level, and we have many full houses. In order to attract the new generation, we need to stage high-quality performances, be it classic ones at first. What are the plans for the future? I.R. We are currently facing an important challenge â&#x20AC;&#x201C; the Theater

1 (15) 2019

safexurebze unda avides. saWiroa, rom Cveni vokaluri skola gardaiqmnas da aRar iyos mxolod donori, romelic msoflios xmebiT moamaragebs. Cven Tu Cvenive resurss ver gamoviyenebT, Taobebis cvlasTan erTad, es vokaluri skolac gaqreba. opera gacocxlda da es adrec momxdara; `SeTqmulebis Teoriebis~ moyvaruli ar var, magram adre, maSin roca Teatrma SemoqmedebiT zenits miaRwia, is daiwva... da masTan erTad `daiwva~ msmenel/mayurebelic, arafers vambob qobulaZis fardaze. gadavitaneT 90-inebic, uSuqobac _ iyo speqtaklebi, romelTac ormocdaaTiode kaci Tu eswreboda. Cveni Teatris aRorZineba pirdapir kavSirSia qarTuli operis aRorZinebasTan. sami mTavari Sedevris _ `abesalomis~, `daisis~, `qeTo da kotes~ garda, samomavlod unda daidgas oTar TaqTaqiSvilis `mindia~, `pirveli siyvaruli~; rezo laRiZis `lela~, brwyinvale sabavSvo operebi da sxva.

is in a revival phase, and it has to go further and further. We need our vocal school to change, and not remain a mere donor that provides singers to the rest of the world. If we cannot use our resources ourselves, our vocal school will disappear in a few generations. The opera scene has been revived, and this has already happened in the past; I am not a fan of conspiracy theories, but when the Theater reached its peak in terms of quality and popularity, it burned in flames… And the audience also “burned” with it – and I won’t even mention the famed Kobuladze’s curtain. We survived the 1990s, we survived not having electricity – there were spectacles that were attended by only up to 50 people. The revival of our Theater is directly linked to the revival of Georgian opera. Apart from our three main masterpieces ‘Abesalom and Eteri’, ‘Daisi’, and ‘Keto and Kote’, we need to stage Otar Taktakishvili’s ‘Mindia’, ‘First Love’, Rezo Laghidze’s ‘Lela’, as well as our brilliant operas for children.

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